#suzuki key cover

[keyceptin]

You Won't Believe How This Simple Accessory Protects Your Key!

Your car secret is more than just a tool—it's a critical part of your daily routine, and keeping it secure must be a priority. The precise information? There's a simple solution to shielding your key and beautifying its look and experience. You didn't believe how effective an essential cover may be! From stopping scratches to safeguarding it from unintended drops, this tiny accessory packs a massive punch of protection. You can buy it online from a website but keycept.in has a quality cover. Let's investigate why an essential cover is an ought-to-have accessory for each driving force.

The Importance of Protecting Your Car Key

Car keys today are a ways more advanced than they were once. They're often prepared with digital components, including remote locking systems or keyless entry features. With such a state-of-the-art generation, the vital thing itself is more vulnerable to put on and tear than ever before. Dust, scratches, and unintended drops can harm your automobile key, leading to malfunctions or pricey repairs.

That's where key covers are available. A well-designed essential cover is the primary line of defence in opposition to everyday harm. Whether you're searching out a leather-based critical cover for a premium feel or a silicone essential cover for a smooth and durable choice, there's a variety to pick from.

How Does a Key Cover Protect Your Key?

A vehicle critical cover acts like a protective guard to your automobile key, presenting numerous vital benefits that make it an essential accent:

Scratch Protection

One of the number one reasons drivers choose key covers is to prevent scratches. Whether your keys are tossed right into a bag with sharp objects or left in your pocket with different keys, the quilt acts as a barrier to ensure your key remains scratch-loose. Leather key covers offer a fashionable and robust answer, while silicone covers offer gentle protection that absorbs the effect.

Dust and Dirt Resistance

Over time, dust and particles could make their manner into the crevices of your car key, particularly around the buttons. This can cause trouble with your key's functionality. A well-outfitted critical case or cover will keep out dust and dirt, ensuring that your key continues operating efficiently.

Shock Absorption

Keys are dropped more frequently than we love to admit. A durable essential made from silicone or TPU material lets you take in the surprise from unintentional drops, minimizing the impact and stopping any internal damage to the key. You received acceptance as accurate, considering how much protection a slight accent like this will provide!

Types of Key Covers You Should Consider

Not all key covers are created identically. Depending on your fashion and wishes, you could pick out from several types:

Leather Key Covers

If you're searching for a top-rate feel and long-lasting protection, leather is the way to move. Leather key covers offer a comfortable fit and are distinctly durable. Plus, they upload a hint of luxury to your key.

Silicone Key Covers

Silicone key covers are a satisfactory choice for people who decide on a softer, bendy option. They're mild, smooth to grip and offer tremendous surprise absorption. Silicone covers are specifically helpful in case you're someone who tends to drop your keys regularly.

Metal Alloy Key Covers

These are best for those who want more excellent sturdiness. Metal alloy key covers no longer hold your key handiest and defend it from scratches and drops; however, they also provide a graceful, contemporary appearance.

Why a Key Cover is a Must-Have Accessory

If you're questioning whether an essential cover is worth the funding, remember this: changing or repairing a broken vehicle key can be steeply expensive. Key fobs and electronic car keys are costly to update, and even minor damage can result in you desiring a substitute or repair. A critical cover is a slightly less expensive accent, which can save you from these costs.

In addition, key covers are customisable. Whether you want a silicone essential cover in your preferred colour or a leather-based critical case that suits your vehicle's interior, countless alternatives are available. Some even come with automobile keychains to bring comfort.

How to Choose the Right Key Cover

When deciding on a car key case, you must ensure it perfectly suits your key. Most key covers are designed for precise models, so whether you have a sedan, SUV, or Tata Car there's a cover designed for you. Ensure that the material you select suits your lifestyle—in case you're at risk of dropping your key, a surprise-soaking silicone cover is probably fine. If fashion is your precedence, a sleek leather cover will be the way to move.

Also, take into account how regularly you use your key. If you're constantly moving, a long-lasting, metal alloy cover offers the proper combination of style and safety.

Conclusion: Give Your Car Key the Protection It Deserves

At the end of the day, a car key cover is an easy accent that can make a large distinction. It's affordable, clean to put in, and offers various advantages—from preventing scratches to protecting against drops. Don't wait until your key is broken—put money into a key cover today and experience peace of mind knowing that your secret is protected.

You gained acceptance as accurate, showing how much more confident you'll feel when you have a stylish, critical cover safeguarding your vehicle key! With many alternatives, there's an excellent cover for every driving force. Your vehicle key merits the pleasant, and now you understand how to deliver it the safety it needs.

[hyeahgaku]

Compilation of SAKAMOTO DAYS Manga Volumes

SAKAMOTO DAYS Volume 1: “The Legendary Hitman”, released on April 2, 2021 (JP version) and April 5, 2022 (EN Viz version). Cover characters: Shin & Tarō Sakamoto Volume 1 covers Days 1 to Days 7

SAKAMOTO DAYS Volume 2: “Hard-Boiled”, released on June 4, 2021 (JP version) and June 14, 2022 (EN Viz version). Cover characters: Shin & Lu Shaotang, featuring Tarō Sakamoto Volume 2 covers Days 8 to Days 16

SAKAMOTO DAYS Volume 3: “Heisuke Mashimo”, released on September 3, 2021 (JP version) and August 9, 2022 (EN Viz version). Cover characters: Heisuke Mashimo & Piisuke, featuring Shin & Tarō Sakamoto Volume 3 covers Days 17 to Days 25

SAKAMOTO DAYS Volume 4: “Quiet on the Train”, released on November 4, 2021 (JP version) and October 11, 2022 (EN Viz version). Cover characters: Natsuki Seba, featuring Kashima, Shin & Tarō Sakamoto Volume 4 covers Days 26 to Days 34

SAKAMOTO DAYS Volume 5: “Death Row Prisoner”, released on January 4, 2022 (JP version) and December 13, 2022 (EN Viz version). Cover character: Osaragi Volume 5 covers Days 35 to Days 43

SAKAMOTO DAYS Volume 6: “Bad Luck”, released on March 4, 2022 (JP version) and February 14, 2023 (EN Viz version). Cover character: Nagumo Volume 6 covers Days 44 to Days 52

SAKAMOTO DAYS Volume 7: “I Got This”, released on June 3, 2022 (JP version) and April 11, 2023 (EN Viz version). Cover character: Gaku Volume 7 covers Days 53 to Days 61

SAKAMOTO DAYS Volume 8: “Exam, Stage Three”, released on August 4, 2022 (JP version) and June 6, 2023 (EN Viz version). Cover character: Akira Akao Volume 8 covers Days 62 to Days 70

SAKAMOTO DAYS Volume 9: “Hard Mode”, released on November 4, 2022 (JP version) and August 1, 2023 (EN Viz version). Cover characters: Nao Toramaru (featuring Buddha Sakamoto) Volume 9 covers Days 71 to Days 79

SAKAMOTO DAYS Volume 10: “Reunion”, released on February 3, 2023 (JP version) and December 5, 2023 (EN Viz version). Cover character: Slur/X (Uzuki) Volume 10 covers Days 80 to Days 88

SAKAMOTO DAYS Volume 11: “One Blow”, released on April 4, 2023 (JP version) and April 2, 2024 (EN Viz version). Cover character: Shishiba (featuring Yotsumura's eyes) Volume 11 covers Days 89 to Days 97

SAKAMOTO DAYS Volume 12: “Roll Film”, released on June 2, 2023 (JP version) and June 4, 2024 (EN Viz version). Cover character: Kanaguri Volume 12 covers Days 98 to Days 106

SAKAMOTO DAYS Volume 13: “Reminiscence”, released on September 4, 2023 (JP version) and to be released on September 3, 2024 (EN Viz version). Cover character: Rion Akao Volume 13 covers Days 107 to Days 115

SAKAMOTO DAYS Volume 14: “Bizarre Data”, released on November 2, 2023 (JP version) and to be released on November 5, 2024 (EN Viz version). Cover character: Hyō Volume 14 covers Days 116 to Days 124

SAKAMOTO DAYS Volume 15: “The Assassin Exhibit of the Century”, released on January 4, 2024 (JP version) and to be announced for EN release at a later date. Cover character: Kumanomi Volume 15 covers Days 125 to Days 133

SAKAMOTO DAYS Volume 16: “Encounter”, released on April 4, 2024 (JP version) and to be announced for EN release at a later date. Cover character: Kamihate (featuring Sakamoto, Shin & Heisuke) Volume 16 covers Days 134 to Days 142

SAKAMOTO DAYS Volume 17: “Entry”, released on June 4, 2024 (JP version) and to be announced for EN release at a later date. Cover character: Mafuyu Seba Volume 17 covers Days 143 to Days 151

SAKAMOTO DAYS Volume 18: “Melee”, released on August 2, 2024 (JP version) and to be announced for EN release at a later date. Cover character: Haruma Volume 18 covers Days 152 to Days 161

[secretlyajackalope]

[keylife01]

Car Key Cover

Car Key Covers not only protect your key from potential damage, but they also help to extend its life. By protecting the key from dirt, dust, and scratches, it prevents wear and tear which can eventually lead to its demise. In addition, a luxury key cover also adds an extra layer of security! as it keeps the key hidden from view from Keylife. This means that if someone were to try and steal your key! it would be much more difficult for them to do so.

[fromthedust]

portrayals of bats in the 19th century:

Yashô (Japanese , 1782-1825) - Bat in Flight - ink on paper - early 1800s

Nicolas Huet the Younger (French, 1770–1830) - Bat - 1809

Joseph Severn (English, 1793–1879) - Ariel Riding on a Bat - oil on panel - 1820

Yamada Hōgyoku (Japanese, active c.1804-1844) - Bat and Moon - c.1830

Hiroshige (Japanese, 1797-1858) - Bats and Branch

Hōraku (Japanese, active early to mid-19th century) - Owl and Bat -netsuke (two views)

Hōraku (Japanese, active early to mid-19th century) - Bat on Roof Tile - netsuke

Greater Javelin Bat - from Grand Illustrated Encyclopedia of Animated Nature - 1856

Bat fitting - bronze - China - Qing dynasty (1644-1911)

F.W. Key - Bats - illustration from Links in the Chain; Or, Popular Chapters on the Curiosities of Animal Life by George Kearley - 1862

Bowl with bat - Japan - 1870

Isshō (Japanese) - A Bat Flying Near a Pine Tree - painting

Vincent Van Gogh (Dutch, 1853-1890) - De Vleermuiz (The Bat) - (portraying a taxidermied flying fox) - 1886

Design for a Japanese Window - Catalog from Belcher Mosaic Glass Co.; New York - 1886

Hyakunen Suzuki (Japanese, 1825–1891) - Bat and Willow Tree - fan painting

Bat - sulphide marble - late 19th century

Bat button - silver - Art Nouveau - France - late 19th century

Bat - Ojime bead - ivory - Japan - late 19th century

Peach-Shaped Vessel with Bat - porcelain - China - Qing dynasty

Tonkotsu (tobacco container) with lucky bats - Japan

bookcover for 'Stories and Interludes' by Barry Pain - 1892

Antonio de la Gandara (French, 1861-1917) - illustration for the book 'Les Chauves-Souris' (The Bats) by R. Montesquiou - 1895

Vase with Bats - earthenware ceramic - Art Nouveau - 1896

two illustrations of Bats from Cassell’s Natural History - 1896

Cover of 'Dracula' - 1st Edition - Bram Stoker - 1897

Rene Lalique (French, 1860-1945) - Batgirl pendant - gold with enameled wings & pearl - 1898

Rene Lalique (French, 1860-1945) - bat anklet - 1899

[slytherinyourrpants]

Reita,

I'm so sorry I'm just now finding out about your passing.

Thanks to you, I discovered the magic of The GazettE during the age when I felt most alone. I fell in love with the style, the rhythm, and the balance you created.

A big part of me is unable to believe this is real. Even though there is an official statement and thousands of memorial content, I cannot grasp the reality of it. I recently thought of you, wondering if I've missed an Instagram post that was lost in my dashboard. Sadly, I came across a post of an article about your band members bidding you farewell. Lord knows I was hoping you had decided to leave the band to take a break and live life...

My eyes were opened to the world of Visual Kei all because the universe introduced me to you. I came across "Filth in the Beauty" and immediately started searching for the identity of the man wearing a bandana on his face. The need to know more about you, the band, and your music was intense, no one could stop me. It was then I fell in love with wearing masks or any face covering all because I wanted to be as cool as you.

You meant so much to me when I was young. Around that time I was having difficulty finding myself, the youngest of a big family who struggled silently with depression and self-harm. I didn't know who I should be, what music I wanted to claim mine, or what style of clothing to adopt. Back then I didn't have anything or someone that was mine to discover. If I think back far enough, you were probably a MySpace theme.

During my first year of fanfiction, I found some VK writers asking for people to submit artists and prompts. Of course, I sprinted and asked for some of the reader and you. I wanted to read about Suzuki Akira being doted on and loved like he deserved. (And to also imagine I wasn't as young and to be your partner like all fangirls do) It was probably then that I realized not only did I admire you, but that I loved you.

I admit I had grown apart from the VK scene by '07 when I got into K-Pop. But even so, I always came back to you and blared your bass part in "Cockroach" on repeat to give me the edge I search for. Time was the only thing to change, my love and admiration for you was on in the same.

Reita, I loved you when I was age 9, I love you at age 27, and I will love you in the next life.Without you, I wouldn't have discovered all the things and people I love today. I wish you peace wherever you are and to please watch over your brothers until you all meet again.

Sayonara, my love.

[haudacaccia]

[PRSK COVER CONCEPT]

N25 × MEIKO cover of Pipivovott (ピピボボッット) by EZFG (original singers: GUMI, MEIKO, VY1)

Original Song Link:

【GUMI・MEIKO・VY1】ピピボボッット【Original MV】

宵崎奏/Kanade Yoisaki （CV:楠木ともり/Kusunoki Tomori）

朝比奈まふゆ/Mafuyu Asahina（CV:田辺留依/Tanabe Rui）

東雲絵名/Ena Shinonome（CV:鈴木みのり/Suzuki Minori）

暎山瑞希/Mizuki Akiyama（CV:佐藤日向/Satou Hinata）

メイコ/MEIKO（CV:拝郷メイコ/ Haigou Meiko）

歌詞（日本語）

なんでもアリの中で

選んだのはルールでがんじがらめ

変えていくの巻かれていくの

紙一重の揺らぎせめぎ合い

時は「挑め」とそそのかす

カタキの砦に 攻め切り込む為に

ピピボボッット (×4)

ピピボボッット (×4)

ピピボボッット (×4)

ピピボボッット (×4)

止まることなくピピボボッット

休むことなくピピボボッット

諦めるなんて言葉さえ浮かばない程 ピピボボッット

鋭利な爪はハイド

��がみ付いていくだけの

二の足を踏む意義と希望衝動

ピピボボッット

なんでもアリとは言え

ありすぎても選べないね

楽しんだり悩んでみたり

インとアウトギリを狙いあったり

気付けば居場所を探してばかり

惑わす幻振り払う為に

ピボット (×16)

信じていた目指すものが

揺らぎ出したのはいつから

憧れ続けてた夢を見直す

勇気も出ないまま

誰かが言い得た言葉

ただ例えただけならば

囚われ続ける理由は何処にも無い

移動可能離脱可能一歩でも僅かでも

微々の速度距離でも捨てたものじゃ無いのかも

前提も常識も心臓も環境も

常日頃コロコロ悲も喜もコモゴモ

意を決して走り出して突っ走ってつまずいて

立ち止まって振り返って繰り返すように見えても

右へでも左でも前後上下時間次元

超えて何処へでも行けばいいよ

行けよどんどん

ピピボボッット

各々が何処ででもピピボボッット

ピピボボッットト

それぞれが其処此処でピピボボッット

ピピボボッットト

しなくてもしたければ好きにどうぞ

変えても巻かれても楽しもうと悩もうと

日々怒濤の未知のロード

キミともっと

ピピボボッット

ピピボボッット (×16)

______________________________________________________________

LYRICS (English)

Among anything that's acceptable,

what I chose is bound by rules

I'm changing, I'm being wound up

The slight shifts are conflicting against each other

Time incites us to fight,

in order to tear down the enemy fortress

Pipivovott (×4)

Pipivovott (×4)

Pipivovott (×4)

Pipivovott (×4)

Pivoting without stopping,

Pivoting without resting,

Pivoting to the point where such words like "giving up" don't come to mind

The sharp claws are hidden,

I'm just holding on,

My meaning, hope, impulse are stuck in place

Pipivovott

It is said that anything goes,

but if there are too many options, then it gets hard to choose

Having fun, getting anxious,

(we weave) in and out, cutting it close so that we just barely make it

By the time I realize it, I'm searching everywhere for a place to belong

in order to shake off bewildering illusions

Pivot (×16)

The goal that I believed in,

since when did it start to waver?

I can't summon the courage to look again

at the dream that I continued to yearn for

If the words that someone was able to say

were merely hypothetical, then

there is no reason to stay trapped at all

Movement is possible, withdrawal is possible, even just a single step,

even if it's just the slightest bit, even if it's at a slight pace, perhaps it's not completely hopeless

Assumptions, common senses, sentiments, circumstances

are alternating is sadness and joy

I make up my mand, start running, dash forward, stumble

come to a stop, and look back but it looks like it's happening all over again

To the left, to the right, back and forth, up and down, surpassing time and dimensions,

we can go anywhere

Let's go quickly

Pipivovott

Pivoting towards wherever each person is

Pipivovott

Pivoting towards each one here and there

Pipivovott

Even if it's not necessary, if you want to, then do as you please

Even if I'm changing, even if I'm wound up, whether I have fun or whether I get anxious,

I'll pivot more with you,

through raging days on an unknown road

------------------------------------------------------------------------------

English translation by Reinkka, nabbed from the Vocaloid Lyrics Wiki

------------------------------------------------------------------------------

Original Key: E minor -> F minor

Cover Key: E minor -> F minor

Change: ±0 semitones

[linkemon]

Oikawa Toru (selfship)

Comission made with an OC (Okami Suzuka) for Sus-Chan on Wattpad.

You can check my Masterlists both in English and Polish here. Consider supporting me on Ko-fi. You can also check out my commissions if you’re interested. Other selfships can be found here.

○ When Okami's parents wanted to leave for the United States for work, the girl felt like her world was falling apart. That's why she resisted with all her might so they wouldn't take her with them. To this day, she doesn't know how she begged them, her uncle, her aunt and her cousin  —  Yamaguchi (who welcomed it with great enthusiasm).

○ It could be said that it was from these moving adventures that her acquaintance with Oikawa began. If you can call a situation in which only one party knows the other that. It all came down to the fact that Tadashi knew Kei, he in turn had a brother and Akiteru played volleyball. Not being very interested in volleyball, Suzuka showed up at a few of Toru's middle school matches anyway. Her cousin wanted to cheer on his friend's brother and that's how it worked out. It was then she decided that Oikawa was an interesting player but that was it. She was much more curious about the legendary crowds of female fans that surrounded him at such a young age like herds of wild animals.

○ The relationship between the two blossomed only when it was time to choose a high school. The girl chose Aobajosai because of the level of education, not really caring about sports. Therefore, although she was aware of the legendary institution, where volleyball reigns supreme, she was sincerely surprised when her friend persuaded her to go to a casting to become a club manager. In fact, she was met with a cold reception. The team was skeptical about the new acquisition, stating that she might have come (like many candidates before her) because of Oikawa. It was the coach who ultimately decided to accept her, seeing the potential in her.

○ The first year of school passed on a rather neutral note. The second year resulted in something like friendship. Mixed with a large dose of admiration at the same time. Suzuki towards Toru's hard work in the case of volleyball and him towards how much she did for the club and how she managed to combine these duties with her studies. Considering the level of volleyball in Aobajosai, the manager always had her hands full. Only the third year brought a breakthrough. Especially after she found Oikawa crying because of a big loss in the tournament. She started to comfort him and in the process she cried herself. That's how they ended this hopeless afternoon, laughing about it through tears.

○ Since then, something has changed in their relationship. They have formed an even deeper bond. Shortly after, they went to a fireworks show together. Oikawa planned to kiss Okami there. He had planned everything quite precisely. In the end, however, nothing happened. He doesn't consider himself a coward but something or someone was constantly bothering them. Sometimes they met mutual friends, sometimes one of them got dirty with food on sticks and had to look for the bathroom. As if it was bad luck. It was Suzuka who leaned in for a kiss when he walked her to her door after a long day. The boy promised himself that he would never forget that moment.

○ From then on, they became a couple, although this period covered high school to a very small extent.

○ Toru liked to meet Okami in the morning, before school. Even if he had to make a little detour. Sometimes they would just talk and sometimes they would share headphones. One in each ear, connected by a cable to the latest hits, downloaded from the Internet. If they were able to stop for some milk bread on the way, he was in seventh heaven.

○ Oikawa is disgustingly cute when he calls her. The team gives each other the gag reflex sign whenever he overdoes it. Suzuka can be sure that he'll text her at very odd hours, even when he knows she has classes and can't text him back:

Teddy bear...

I've already sent you 10 memes and you haven't responded to any of them.

photo_of_nyan_cat.jpg

Does this mean you don't love me anymore???

Call me back!

○ Toru has her saved in his contacts with 3 red hearts next to her name. He'll pester her until Suzuka adds the same ones next to his name.

○ Oikawa isn't exactly a jealous person. He knows his worth and trusts Okami. That doesn't mean he didn't enjoy teasing Tsukishima ever since he noticed he had a certain fondness for the girl that went a bit beyond friendship. Unfortunately, Suzuka had to deal with hordes of mean Oikawa fans. That didn't last long, though, because school was ending and she had her boyfriend's support.

○ One of the activities they did together that lasted beyond their high school years was helping out volleyball player's nephew. Even as young Takeru grew older and began attending classes at older age groups, the duo still dropped in on the younger kids to tutor them.

[hurlumerlu]

Really the funniest side-effect of a product placement ever (beside me feeling annoyed everytime i pass a blue suzuki) is the way Not Me low-key convinced me White has an eating disorder with all their soy milk scenes. And by funniest I mean weirdest and most accidentally unsettling.

Pretty sure the only times we see him eat something is when he stole Sean's snacks as a cover & when he scarfs down rasmalai to get out of Gram's room. We do however see him sit before rich, full meals looking extremely uncomfortable and refuse food in favor of his little drinks. Yes there are almost always reasons for theses scenes in context but the way they add up does not paint the prettiest picture. "My son is fine" your son drowns himself in the bath recreationally and only ingest liquid food. And all because they had SangSang as a sponsor.

[ineffable-opinions]

Takumi-kun 6 – trailer plus

Takumi Kun Series: The Dawn of The Long Tales

[Here’s a bit of an introduction to characters and plot. Covers the material directly lifted from the description box of the trailer. Contains mild spoilers.

The movie has been fan-subbed by furritsubs.]

Introduction

The beginning of Takumi and Gii’s sparkly days

Over 15 years since the first 2007 film adaptation of the Takumi kun Series, a popular “boys’ love” novel series with over 5 million copies in print, a new series has been launched with a new cast and story. The film is a combination of three titles from the Kanzen-ban 1 (omnibus edition) of the original novels—

Akatsuki wo Matsumade (tr. Until I Wait for the Dawn)

Soshite Harukaze ni Sasayaite (tr. And Then, I Whisper into the Spring Breeze)

Nagai Nagai Monogatari no Hajimari no Asa (tr. The Morning of the Beginning of a Long, Long Story).

[This is the order in which the stories appear in the omnibus edition. Third story is new addition to the novel series.]

It portrays Takumi’s encounter with Gii on the day of Shido Academy’s entrance exam and the beginning of their sparkly days.

Takumi Hayama, one of the main characters, is played by Shion Morishita, a new actor stepping into the spotlight in 2023

Giichi Saki (Gii), the other main character, is played by Daigo Kato, who is a musician as well as a cast member of musicals Touken Ranbu and HYPNOSIS MIC Division Rap Battle Rule the Stage.

Other fresh talent in the cast adds vibrance to Shido Academy:

Satsuki Nakayama of Kamen Rider Zero One as Izumi Takabayashi

Rio Takahashi, who models for magazine MEN’S NON-NO, as Shozo Akaike

Yusuke Noguchi of Hi☆Five as Toshihisa Katakura

Souta Uemura, an actor popular with teenagers, as Michio Yoshizawa

Ryunosuke Nagashima, who performed in HYPNOSIS MIC Division Rap Battle Rule the Stage, as Kei Aso

Kosei Tsubokura from a play called Promise of Wizard as Kenji Suzuki

Tsubasa Kizu, who acted in the stage adaptation of Tokyo Revengers, as Arata Misu

Screenwriter Hiroko Kanasugi and Director Kenji Yokoi, the same duo from the previous film who know the Takumi kun Series inside and out, are back together again. With a new screenplay and a new cast, they light the torch to the beginning of a beautiful, sparkly Takumi kun Series.

Story

On the day of Shido Academy’s entrance exam, Takumi witnesses Gii for the first time--

On the day of Shido Academy’s entrance exam, Gii (Giichi Saki), who stands out in a crowd with his striking presence, walks past Takumi Hayama in the hallway. Takumi is mesmerized by Gii’s exotic, attractive appearance.

[fan-subbed by furritsubs]

When school starts, Takumi is treated like a freak by his classmates because of his fear of touching and being touched by other people.

But Takumi manages to get by, thanks to Toshihisa Katakura, his only good friend and roommate in the dorm. However, the peaceful days don’t last very long.

In the library, third-year student Kei Aso asks Takumi to participate in the campus “shrine hunt” event with him.

Izumi Takabayashi, who’s head over heels in love with Gii, and students who idolize Takabayashi start picking on Takumi.

When Takabayashi realizes that his beloved Gii not only shrugs him off but is also interested in Takumi the freak, he gets consumed with jealousy and masterminds an attack on Takumi.

Spring comes, and Takumi and Gii are now second-year students. They’re assigned to the same room in the dorm, and their relationship gets much closer.

Then Takabayashi makes another move and drives Takumi into a corner. Gii realizes Takabayashi’s plot and tries to save Takumi, however...

And thus starts Takumi and Gii’s long, long sparkly story.

-

Fan-subbed by furritsubs

-

This post is planned as a part of a series:

1.Trailer plus (you are here)

2.Introduction to the school culture and male androphilia in Japan.

3.How does the movie compare with the source novel?

4.How does the movie compare with previous adaptations?

[dustedmagazine]

Listed: Verity Den

Verity Den plays a soft-focus, trance-state shoegaze with glimmers of Zelienople, Bark Psychosis and Movietone. The band, out of North Carolina, is comprised of Casey Proctor, Trevor Reece and Mike Wallace, all three of the DIY veterans who formed the band in early 2023. Reviewing their 2024 self-title debut, Jennifer Kelly wrote, “Though their album is enjoyable as rock, it is very clearly not just that; it pools and looms and gently probes improvisatory effected guitar zones that sit pretty far from conventional song structures.”

Casey Proctor “Chant Arabe” (Anonymous) from Suzuki — Piano School: Volume 1

I started taking Suzuki Method piano lessons when I was five years old, and “Chant Arabe” was one of the pieces in Volume 1. During my first recital, my teacher exclaimed how I connected with that piece more than the others, saying that some people can emote ominous (minor-key) music more effectively. It was an early realization that I might be one of those people, and I still enjoy listening to and writing with those tonalities.

Mahavishnu Orchestra — “Meeting of the Spirits”

Every Sunday morning for a solid five-year period when I was a kid (like 7-11), my dad would blast “Meeting of the Spirits” while making breakfast. Undoubtedly, I was influenced by all the music he listened to, but that song in particular is probably the reason I went on to listen to other prog bands from the 1970s and later bands like Meshuggah and Animals as Leaders. We weren’t a religious family but during that era we were attendants at the church of prog rock.

Young Marble Giants — Colossal Youth

The first time I heard a Young Marble Giants song it was Hole covering “Credit in the Straight World.” I didn’t “discover” that it was a YMG song until later and then finally listened to the entirety of Colossal Youth. Front to back it’s a perfect album. It has minimal instrumentation, but it’s completely engaged and never boring. Alison Statton’s lyrics are nuanced and poetic but very punk. I don’t know how to make music that sounds like that, and I haven’t heard anyone else do it.

Mikhail Kalatozov — Letter Never Sent (1959)

Letter Never Sent is my favorite film. Beyond it being one of the most beautifully shot films I’ve ever seen (Sergey Urusevsky is the cinematographer and it’s in black and white), the subject matter feels like it’s personally tailored to me in a few ways. It’s about a group of government-funded geologists who are sent to Siberia to find diamonds. Their expedition is interrupted by a forest fire that cuts off communication with rescue crews and disorients them into a survival situation. Much less dramatically… I worked for the US Forest Service for 12 years, building and maintaining trails in the front and back country, almost majored in Geology and was a certified wildland firefighter for a few years. Also, honorable mention, from the same director… Salt for Svanetia (1930) is fantastic cinema and one of the earliest ethnographic films ever made.

Trevor Reece Roedelius — Wenn Der Südwind Weht

Right before the pandemic, I wasn't playing much “rock” guitar or listening to most of my long-time go-to-records. Leaning more towards experimental, drone and synth-based music. A friend put this Roedelius record on my radar around that time and it inspired me to record some questionable but exciting stuff at home. A classic record and always there to help.

Alex Chilton — Like Flies On Sherbert

Alex Chilton & his weird friends making a mess in the studio.

Bill Daniel — Who Is Bozo Texino? (2005)

I first saw this film during a screening tour through the south around 2006. I was somewhat new to town, wandering around and only cared about making art. Highlighting old outsiders making their mark and telling stories through a grainy film collage felt new but familiar. The ethos of this film is one that I still relate to today.

Mike Wallace Allen Toussaint — “Southern Nights”

A totally transporting song, Toussaint showers you in layers of piano and keys, the percussion chirps along like crickets at night and that perfect, unhurried hook. It really captures a certain kind of feeling, that particular humidity, the sun going down over the field. It's strange though because I didn’t hear this song until I was probably 25 or something, so I didn't have a memory of listening to it as a kid or something, but like a lot of songs, it became like a lens to look back on that, maybe memories I wish were there in some way. I guess it taps this strange kind of nostalgia whose origin is hard to locate and also comes with its own load of complications. That’s a part of the Southern experience, too, in a way that's unique to this part of the country. Memory and history are omnipresent, written and rewritten. I don't even hate the Glen Campbell version of this song. That’s its own type of “Southern Night.” Sometimes it's like that. I didn’t always embrace being from the South, but nowadays I’m into it and I know that when I’m living somewhere else someday, I will finally get to have that feeling of honestly missing a place and wishing I was back home for just a night.

Grouper — “Alien Observer”

This is the first Grouper song I heard and I remember feeling just stunned by it. It has this depth of interiority and a meditative cycle that’s like breathing. I think this song really struck me because I encountered Liz Harris/Grouper at a transitional period. After the end of a long relationship, I was living for a little bit with several people in a house in Greensboro, NC called Hellraiser Haus, named because some scenes from Hellraiser 3: Hell on Earth were supposedly filmed at the church across the street. It was a show house and the people I lived with were great, but I was kind of struggling with what was next and who I was in the wake of everything kind of disintegrating. There was something so bleak and comforting in this song, I really did kind of feel like an alien, observing myself, kind of detached. A few years later I saw her play kind of a large theater in Raleigh for this festival Hopscotch, and waking up several minutes after she had finished, kind of disoriented and crunched up in the seat and thinking I just saw one of the best shows of my life.

Wong Kar-wai — In the Mood For Love (2000)

What more can be said about this movie that hasn't already? Wong Kar-wai is a master, and a really singular stylist. I never tire of watching this one, but I rarely put it on, it's just really worth savoring. It's also one where one’s feelings may change over time in relation to the basic plot points. Maybe you recognize yourself at different points or scenes than you did before, or see a new detail in a gesture or glance, like every moment’s a prism and would mean something different if it was just slightly turned. Being in a state of longing can really feel awful, but there can also be a kind of solace in there. Even once it's over, you can return to it sometimes, to remember. I mean just see it; this isn’t making any sense anymore!

[hyeahgaku]

JUMP GIGA Winter 2023 Special Interview with Yūto Suzuki-sensei!!

First JUMP GIGA 2023 cover to commemorate SAKAMOTO DAYS reaching its 100th chapter milestone since its serialization!!

In-depth discussion with Suzuki-sensei about his life and work, so on and so forth!!

Please tell us the things that you paid particular attention to when drawing the cover illustration of this GIGA issue.

Suzuki-sensei: The chosen pose is stationary, but I also wanted it to look intricate so I made the silhouette not too thin! I wanted to draw attention to his eyes, so I placed the gun next to his face and chose a strong colour (to create contrast)! I drew the texture more firmly than usual to give off a more powerful effect! I wanted to highlight his skin complexion so I deliberately chose cold colours for his shirt, hair, etc. but later I thought it looked a bit dull so I added the red light for the barcode scanner as an accent colour.

—

A must-see exclusive interview for readers of SAKAMOTO DAYS, and aspiring manga artists!

Suzuki-sensei Profile

Birthday: July 6

Hobbies: Basketball

Special skill: Handicraft

Favourite manga: Hunter x Hunter (Note: This is additional, known info from the one-shot.)

First debuted in April 2019: Published Garaku (骸区) on Jump Plus.

September 2019: Published Locker Room (ロッカールーム) on Jump Plus. In November of the following year, it received a live-action drama.

December 2019: SAKAMOTO •坂本• (SAKAMOTO -サカモト-) was published on Jump GIGA 2020 Winter. (Note: FYI, this was kinda a prototype of SAKAMOTO DAYS.)

SAKAMOTO DAYS serialization commenced in Weekly Shonen Jump 2020, Issue No. 51. It has become a popular serialization today!!!

Suzuki-sensei, you were once featured in GIGA. Please tell us if you have any memories from that time.

Suzuki-sensei: There was that one time when I tried using Clip Studio Paint, I realized that there were many missing tones when I pasted the image. [Turns out that] I did not display the tone area. I remember the person-in-charge told me, “Full analog is better.”

—

Top Column: Suzuki-sensei published SAKAMOTO•坂本• (above photos) in Jump GIGA 2020 Winter after being published in Jump+ twice!! The main character Sakamoto, his family, Shin and other characters have appeared in the series since then. The concept of the story is the same as the serialization version, but there are several differences such as Sakamoto being a supermarket store clerk, and he [and Shin] even killed robbers, so it’s interesting to see the difference!!

*Shin’s comment: This version of Sakamoto-san is so cool~*

Please tell us what’s the biggest growth or change you’ve experienced between when you were drawing one-shots and now.

Suzuki-sensei: When I was drawing one-shots, my stance was that I would just draw whatever I thought was interesting, so the readers could see what I wanted them to see. But now, I always think about how I could entertain the readers, and how I could make everyone find [the story] interesting. As for [my] growth, I’ve been able to use Clip Studio Paint much better now.

Do you have any advice for the new and upcoming aspiring manga artists on how to create a good one-shot?

Suzuki-sensei: I think that “attention-grabbing” and “page-turning” are key elements in a one-shot! It is important to have this thought in mind while you’re drawing - “This one’s interesting!” - and whether you can really draw that or not. It’s also very important that the reader is able to get on board with the story just because it interests them. Readers will tend to notice if you are focused only on making everything nice and neat or if you’re just summarizing things up. After all, these elements are intended to reduce the “stress of reading.” It might sound weird to make [your story] more exciting just for the sake of attracting people to read, but I think that is one good tactic for competing in a one-shot contest!

*On the next page, we will learn more about Suzuki-sensei!*

Top Column: You can tell from reading Suzuki-sensei’s debut work Garaku, that he’s a mangaka who loves manga and movies! The carefully-drawn backgrounds and elaborate camera work are one of Suzuki-sensei’s strong points!

Please tell us how you became interested in drawing manga and how you chose to pursue this career.

Suzuki-sensei: I was worried about my future career path when I was graduating from my graduate school. But then I came across Katsuhiro Ōtomo-sensei’s manga, Dōmu, which helped develop my interest to become a manga artist.

Are there any other creators or works that you feel have influenced you as a writer?

Suzuki-sensei: I really like the manga written by Katsuhiro Ōtomo-sensei, Takehiko Inoue-sensei and Hiroya Oku-sensei. As for movies, I love the director Christopher Nolan.

I heard that you studied Japanese painting. Does the knowledge you acquired turn out to be of use when drawing your manga?

Suzuki-sensei: I think that it is mainly useful when it comes to composition and form. Japanese painting focuses on the concept of creating a beautiful arrangement of shapes within beautiful compositions, and I always keep that in mind with my work. In the near future, I wish to draw more Japanese-style illustrations.

Please tell us about your manga work process and the tools you use.

Suzuki-sensei: I use an analog pen for drawing the characters. The solid colours, sound effects, effect lines, and backgrounds are digitally drawn by my assistants. I use a Zebra hard G Pen for pen work and inking, and also a digital software, Clip Studio Paint!

Bottom Column: The Ferris wheel scene [Sakamoto vs Boiled], which ranked 3rd in the “Spread Campaign” poll, and the coloured single-page illustrations also portray the balance of the margins, cool silhouettes and compositions!

—

Top Column: The world of SAKAMOTO DAYS features characters with many gaps! From the strongest old man, Takamura, to the handsome but merciless Nagumo… The intense gaps are important to highlight the character’s individuality!

(T/n: “Gap” -also known as gap moe- refers to the contrast between one’s appearance and personality, or the difference between someone's actual personality and from first impression you had of them.)

How did you come up with the idea of a “retired assassin”?

Suzuki-sensei: First of all, I thought the idea of fat people being insanely strong is fascinating. So I asked myself, why are they fat? → Because they retired. Why? → Perhaps they got married or something? And that’s how I ended up making it.

Retired Sakamoto’s plump figure is cute, but it is an unusual character design for the protagonist of a shōnen manga. Please tell us the story behind this “fat assassin.”

Suzuki-sensei: I like characters with strong gaps, so I combined some elements from the two extreme opposites, such as the strongest old man and the strongest fat guy. And the result is that I found it more exciting to draw the strongest fat guy. Back then, I wanted to do a one-shot anyway, so I was focused on the story to make an impact. I truly never expected for it to get a serialization. I never modeled my character after anyone but later on when I learned about the movie “Enter the Fat Dragon”, I thought to myself that they are rather similar.

In SAKAMOTO DAYS, there seems to be many unique action ideas, such as Sakamoto repelled with a cough drop and fights inside the trains. How do you come up with such ideas?

Suzuki-sensei: Ever since I was a kid, I’ve always dreamed of absurd action [sequences]. Even in movies, one could wonder how they'd never think about doing this kind of action sequence or direction, and they may even ask themselves, “Do battles even occur in a situation like that?!” I like the kind of direction which would take the audience by surprise!

Bottom Column: One of the major attractions of this work is the depiction of powerful battles! It’s because the locations are familiar to the readers, and the battles are realistic and powerful beyond one’s imagination. It’s important to narrow down the situation in order to bring out the intensity of the battles!

—

Many attractive side characters appear in your series, such as Shin and Lu. How did you come up with such characters?

Suzuki-sensei: Sakamoto is fat and a man of little words, so I figured he needed a handsome sidekick. During a conversation between the two of them, there was this stuff, “killing in [your] imagination.” I wished to portray that and that’s the reason why I made Shin a clairvoyant. He gets along well with the quiet Sakamoto and they surprisingly made a good team. As for Lu, I initially wanted to draw a battle with a Chinese assassin, and in the course of that, she would show up as a pitiable heroine. [I guess] in my case, I often have a “I want to draw this kind of development!” or “This is how I want the story to unfold!” goal in mind, so the characters are born in the process due to that.

*Lu’s comment: So that’s how I was born, huh~*

Among the characters in your work, is there any character that is particularly easy or the most difficult to draw?

Suzuki-sensei: I don’t have many characters that I find difficult to draw but there are times where they do look alike. So I tend to be careful with that. Gaku is a character that I can draw easily among all the characters. He is someone who doesn’t depend on others and pushes forward on his own path, and I admire people like that, so I enjoy drawing him.

*Gaku’s comment: Ahhh, I see.*

Please tell us your favourite scene from Volume 1 of the manga.

Suzuki-sensei: I like the scene where Shin jumps off the roller coaster in Volume 1. I drew it in such a way so that the readers would be able feel the floating feeling during that scene whilst they're reading. When I drew that scene, I thought to myself that I might be good with drawing action scenes! I remember getting a positive feeling [from it].

Bottom Column: A scene that captures the moment Shin jumped off from the roller coaster – from various camera [angles]! It is important to capture the cool moments in powerful action scenes, such as when Sakamoto tried to punch while disassembling a gun, or when Sakamoto approached the enemy from behind!!

—

Top Column: One of the charms of the work is that it will always make you laugh!! In order to make the reader want to meet the characters and experience their world, it is important to make the story “easy” to read! Despite being a world where assassins are rampant, it still seems like a fun world [to be in] and that’s the charm of this work!

Your one-shots Garaku and Locker Room both have a darker worldview, whereas your serialized SAKAMOTO DAYS is a shōnen manga with comedy and action elements. Is there a reason why you decided to go with this genre?

Suzuki-sensei: It’s easier to make a dark story if it’s a one-shot. But with serialization, I thought it might become potentially harder, so I decided to make the most stress-free manga that I could draw and read, and that’s how this kind of setting came about.

Do you already have the ending of the story in mind, or have you not decided it yet?

Suzuki-sensei: Yes, I have already planned a definite conclusion in mind.

Finally, SAKAMOTO DAYS has reached its 100th chapter. Could you give a final message to our readers who are reading the story?

Suzuki-sensei: The series is only able to continue into a serialization all thanks to the readers! I cannot thank you enough. Thank you very much! I’m also very happy with the fan letters that I’ve received. Please keep sending them. Please continue to support SAKAMOTO DAYS!

*Sakamoto’s comment: Thanks for reading this far. I appreciate it.*

*Over 2.3 million copies sold!! Volumes 1 to 9 are on sale now!!*

fin.

[rz-jocelyn]

[NEWS] REAL⇔FAKE: The Release of the "REAL⇔FAKE Final Stage" Album "FOR GOOD" has been Announced

ALBUM INFORMATION

First Limited Edition

Regular Edition

Title: FOR GOOD

Release Date: June 07, 2023

Tracklist:

1．MISLEAD / Stellar CROWNS with Akane 2．Kimi no Shiranai BLUE / ASTRA RING 3．Your Smile / Makino Nagisa (Aramaki Yoshihiko) 4．through the wind / Ikuta Yuusuke (Ueda Keisuke) 5．again... / Suzuki Kakeru (Sato Ryuji) 6．Lock on / Umehara Reijirou (Matsumura Ryunosuke) 7．The one / Sena Masayuki (Wada Masanari) 8．Powdersnow / Uno Koki (Ino Hiroki) 9．Honey / Inamori Mizuki (Sasamori Hiroki) 10．SHELTER / Akane (Aoi Shouta) 11．Key to My Heart (Short ver.) / Aoi Shouta 12．Memories with you / Makino Nagisa (Aramaki Yoshihiko) & Suzuki Kakeru (Sato Ryuji) 13．Mata ne / Ikuta Yuusuke (Ueda Keisuke) & Umehara Reijirou (Matsumura Ryunosuke) & Sena Masayuki (Wada Masanari) 14．WE ARE ONE / Stellar CROWNS with Akane & ASTRA RING

Bonus:

Photobook (B5 / 34P) *Only available with the First Limited Edition

Member solo another cover (random)

Application serial code for event

SAMPLES OF THE MEMBER SOLO ANOTHER COVER (SUZUKI KAKERU VERSION)

First Limited Edition

Regular Edition

PRE-ORDER/PURCHASE INFORMATION

Pre-orders/purchase from different shops also come with different bonus bromides.

Animate

To pre-order/purchase the single from "Animate", please refer to the links below.

First Limited Edition: HERE

Normal Edition: HERE

Tsutaya

To pre-order/purchase the single from "Tsutaya", please refer to the links below.

First Limited Edition: HERE

Normal Edition: HERE

Kinkurido

To pre-order/purchase the single from "Kinkurido", please refer to this link: HERE

Amazon

To pre-order/purchase the single from "Amazon", please refer to the links below.

First Limited Edition: HERE

Normal Edition: HERE

NOTE: For more information on proxy services in Japan, please refer to this link: HERE

Source: ( x )

[keylife01]

Car Key Cover

Car Key Covers not only protect your key from potential damage, but they also help to extend its life. By protecting the key from dirt, dust, and scratches, it prevents wear and tear which can eventually lead to its demise. In addition, a luxury key cover also adds an extra layer of security! as it keeps the key hidden from view from Keylife. This means that if someone were to try and steal your key! it would be much more difficult for them to do so.

[taliya-writes]

Trilateralism snippet - DCMK

“Did you see the news this morning?  Apparently, Takeda Kanryuu is dead.”

“Takeda Kanryuu?” Shinichi murmured.  The name was familiar, but he could not quite pinpoint where he had heard it before.

“He’s the son of Takeda Houji, the head of the Takeda Financial Group,” Ai expounded.

“They’re the rivals of the Suzukis,” Shinichi breathed as the pieces fell into place.  “That’s where I’ve heard of them before!”  A frown crinkled his expression.  “So the son is dead?”

The little scientist scrolled through the news article, eyes skimming for pertinent details.  “He was under observation for the smuggling of firearms and distribution of opium, and was killed in a popular nightclub in Kota, and…” her voice grew thoughtful, “Two of the guards to the V.I.P. rooms said no one matching the description the third guard provided passed by them to get in.”

“What?”  Shinichi’s frown deepened.  “No one passed by the guards to enter?  What about out?”

Ai swiveled in her chair, shrugging.  “The bouncers aren’t going to care who goes out. They’re only going to restrict access going in.”

Could it have been Them…? Shinichi thought, the faces of the various members of the Organization hovering before his mind’s eye.  “Is it me, or has there been an increase in the unresolved murders of people with shadier connections lately?”

The strawberry blonde shrugged once more.  “I don’t pay attention to that,” she said dismissively.  “Isn’t that supposed to be your area of expertise?”

Shinichi frowned.  He hoped he was not dealing with a serial killer.  That was, in its own way, just as bad as dealing with the Organization—except it was only one person instead of many killing others. Heading back up to the living room area of the professor’s house, he perched himself before the computer there and began research into the string of murders.  And as he collected more and more data, he realized that they were not just a string of murders.  They were assassinations, if the evidence provided by the media was true.  “So…” he murmured as he tapped and clicked, “are You the ones responsible?”  The sneering face of Gin floated before his mind’s eye.

What was the Organization after, if they were indeed killing their business associates?  Pharmaceuticals and firearms smuggling were rather obvious, but some of the others they had offed—why target them?  What made those particular men and women designated as dangerous by the Organization?  What was their connection…?  Carelessness for one, if they failed to adequately cover their tracks regarding their dealings.  It was not their assets, as the law would safeguard those if they had already written wills, and not all of their targets had been particularly wealthy.

Shinichi ruffled his fringe as he growled.  Think!

Yet no answer was forthcoming.  While he knew that the answer to this particular question was not going to be straightforward or simple, the detective knew it was an integral piece to understanding how the Organization thought—and that it might hold the key to predicting where they would be.

[appears]

MEG: BEAM

Of the many artists that Yasutaka Nakata worked his signature electro-magic on, MEG was one of the least popular. She did not have the history that Ami Suzuki had, or even the novelty of Kate Sakai. Eventually, plucking unknown women from obscurity became something of a calling card for him, but before Natsume Mito or Kyary Pamyu Pamyu, there was MEG. MEG made her start on an indie label before getting scooped up by then still-rising Nakata, who predictably worked his peak-era creativity on the singer.

BEAM was her major Universal Music debut, and third album overall, released in December of 2007. It is almost completely composed and produced by Nakata, besides a couple of songs and the two remixes tagged onto the end. In 2007, Nakata was in the midst of developing his signature style, which despite what his recent music will have you believe, relied much less on trendy house styles to do the heavy lifting. Most songs still had a heavy foundation in the jazzy, nu-Shibuya-kei style leftover from his early work with capsule. This in-between moment, when he was emerging from one world into another produced some truly superb work like the catchy "GIRLY STEP" and laid back "IN YOUR EYES." There are two remixes included on here from electro-staples CLAZZIQUAI PROJECT and ajapai. As would become a tradition for his work, MEG also does a cover of a capsule song, in this case "dreamin dreamin."

MEG does not have the greatest voice or stage presence, but none of those things were important to Nakata since he auto-tuned the heck out of all of his artists' vocals, using most as raw material that could be manipulated to his vision rather than as integral parts of the creative process. However, it does explain why a group like Perfume, or Kyary Pamyu Pamyu, who had genuine talent and personality, went on to have enormous success, while MEG did not. MEG's music only got better as Nakata grew as a producer, but much of the popularity she had in the music world was based largely on his influence. As such, when she eventually went on to stop working with him, and pursued other activities (mostly fashion-related, which seems to be her real passion), she quickly lost traction and disappeared. However, we're still left with some really fantastic albums that the two did together.

BEAM is not the highlight of Nakata's, or MEG's career, but there are some really great songs on here, and more importantly, it's a great way to hear Nakata in the process of working out his then-new style.

Happy 15th anniversary!