#taichi wallpaper

[cherryblossomssmash]

A3: 7TH ANNIVERSARY: AUTUMN TROUPE

[sunspotmangafan]

This would be really cute for couples or besties!!

Both by Fumino Yuki

[taichi-x-koushiro]

Digimon Adventure ~ Koushiro{u} Izumi x Taichi Yagami {KOUTAI} / {Taishiro[u]} / {TaiKou}

"In Paris I spent my first night in Montmartre. In all those nightclubs where now everyone is my friend I went from discovery to discovery. Everywhere I encountered the same warm, smiling welcome, the same excellent champagne…everywhere my cap, my light beige suit, and my suede shoes made a sensation." "Panama" Al Brown {x} {Queer History}

Digimon Adventure 25th Anniversary Pop-Up Shop {x} "DIGIGIFT" Official Calender/Wallpaper {x} (Note: Full version of latter contains #TheBeginningSpoilers for Taichi's full design, and a potential aftermath or in-between for the film!)

Fan Edit by @izzyizumi / koushirouizumi {Do Not Copy} {Do Not Remove Caption} {Do Not Re-post} {Do Not Reproduce My Works Under Any Circumstances}

(Anyway, I need an A.U. like this where Taichi runs into +French-speaking Koushiro in France, {in Tri: Saikai, Koushiro is canonically attempting learning some French, and as the cap above shows, takes Koushiro’s parents to a fancy French restaurant - it is also heavily implied it’s Koushiro paying for their meal, as well as helping them order} and Taichi’s “beige suit” and shoes “make a sensation” for someone we all Know…)

[forestwhisper3]

Tagged by @joyfuladorable but I don't know how to link their post. Sorry.

Share your wallpaper:

Laptop lock screen

Home screen

Phone lock screen

Just a turtle emblem on a black background

Phone home screen

As you can see, turtles are still in my brain rent-free.

Last song you listened to: Not counting the instrumental stuff I put on to help me write? YT music says it was Yasashi Kiss by Hitomi Shimatani, but before that, it was Adoro by the Broncos, The Guiding Key by Liz Robinett, Passing Through by Kadan Mackay, Feel it Still by Portugal. The Man, and a remixed version of I Love You Baby by Gloria Gaynor. I also listen to a lot of electro swring and stuff with a good bass beat, as well as jazz and classical.

Currently reading: nothing specific at the moment, just different fanfics, haha. My sister really wants me to start reading one of her favorite series, but I can't ever seem to dredge up the willpower to do it.

Last movie you watched: The whole way through? The Mario movie. I've seen bits and pieces of others since then whenever my mom's watching one, but not the whole thing.

I'm not counting the Rise movie since that's just a permanently open tab on my laptop now.

Craving: Frozen yogurt. Or a bacon avocado cheeseburger. Or steamed buns. Or all of them. It's been a while since I've had them, and I want some.

What are you wearing right now: Stitch pajamas when I started this, but work clothes right now since I'm at work.

How tall are you: 5'3"

Piercings: I guess my ears? Pretty sure one or both of them have closed over by now, though.

Tattoos: None. At most, I've done those fake paper ones that used to come with packs of gum, but nothing permanent. Don't really plan to, either.

Glasses? Contacts?: Both. Since middle school. Used to hate glasses, but now I love them. Only thing I don't like is the poor vision that comes with it, haha. Contacts are for work or trips to places like theme parks where I'm afraid they'll fall off on a ride or something.

Last drink: Water. If we're talking alcoholic...I don't even remember. I'm not a big drinker.

Last thing I ate: Pizza for dinner. And breakfast since I was too lazy to make anything.

I don't even know what toppings were on these but they were delicious.

Last show: TMNT, specifically, "The Real World" from the 03 series. I need my reference video.

Favorite Color: Red and purple. Green is nice too.

Current obsession: I think it's pretty obvious, lol. TMNT.

Unrelated obsession: ... I'm not sure what to put here. Fluffy things? Cute things like penguin stickers? ...Pokémon?

Any pets: 4 cats, 2 dogs, all rescues. We are very much a "You're coming home with me" family.

Crush on anyone?: No one that's real, lol, and my fictional "crushes" are said more as a joke more than anything. Am I opposed to the idea of romance and being in a relationship? Not at all, but I'm not gonna go out of my way to find one or stress out about it either. If it happens, it happens, and if not, that's cool too.

Favorite fictional characters: Now these I have a lot of. Yusuke Urameshi, Yagami Taichi, Gary Oak, Roronoa Zoro (although I love all the strawhats really), Michelangelo (though again, I love pretty much all the ninja turtles), Knuckles, Tails, Professor Layton, Donald Duck, Sora, Cloud Strife, Vincent Valentine, Zack Fair, Maes Hughes (and most of the FMAB cast), Luigi, and many more. These are just some of the first ones that come to mind, but it would take too long if I did all of them, lol.

Last place you traveled to: ...What is this traveling you speak of?

Joking aside, probably Tucson, Arizona, to visit my brother. Not counting that? Mexico, but that was ages ago.

Tagging...uh...*checks to see who actually interacts with me on here* @klonoadreams and @eldritchgray I guess?

[queenoftheboard]

♙ 1.e4 . an opening for Dojima Daigo / @dojimakaichou

The hotel building was less than impressive - it was barely worthy of the three stars it advertised underneath the neon lights making up its name, and there were several signs around of a location that had seen its prime a long time ago: wallpaper peeling off, small infiltrations on the ceiling, flickering lights here and there and nothing to show for room service.

As far as vacation retreats went, that was no resort; but for a temporary safehouse and hiding spot, it was remarkably generic. Nothing too over the top and still within city center - no one would think of looking for Dojima Daigo in the most obvious place of them all: Fukuoka. Soon enough, from early next morning onward, mostly everyone would have assumed the worst and declared the Sixth Chairman of the Tojo to be missing after a night stroll following an alliance negotiation.

But Daigo had not gone anywhere and the fact that Eirene was in that suite would have sounded strange to most (if not all) relevant yakuza players of the Tojo - they were not friends, and the history between the biggest clan in all of Kanto and the Quinn group was one of strife. There had been a lot of heated conversations, not so veiled threats and no small number of sabotage attempts before a cold war of sorts was controlled, a truce between them enforced at the request of their leaders.

Still - a meeting between the two of them without any of their personal bodyguards would be strongly opposed or outlawed by their inner circles. And yet, that was precisely what the Quinn CEO and the Tojo chairman were doing, all the time being careful enough to ensure they were not being followed or drawing attention to themselves, and setting the first step of a plan mostly elaborated by Daigo in motion.

Eirene had to appreciate it - the ingenuity of his scheme, the patience for a long game; her rival was a worthy one, and a man she had come to grown fond of. Besides, with Daigo away from the Tojo, things were less than hospitable for Quinn's operations in Kamurocho; but as long as he had the clan under control, her profit margins were likely to be undisturbed by external factors.

To ensure the status quo remained as it was, she had volunteered to be chased and hunted as some sort of betrayer - and frankly, the complicated sets of moves and counters that had been orchestrated excited her. More than the danger involved, there was the possibility of the real enemy seeing through their ideas - and the exhilaration of a high-profile game beginning was hard to masquerade, even more so than the CEO's unusual appearance in the streets of any Japanese city.

And that was why Eirene took some time by the door, carefully removing the most relevant parts of her disguise - a hat, a long wig made of black tresses, a pair of sunglasses to keep her trademark eyes covered. They accompanied a leather jacket over a mini-dress and knee-length boots that she would never ordinarily choose to wear - instead of a businesswoman, Eirene looked like the groupie of an indie band, but it felt good to get at least the fake hair and the flamboyant hat off.

"It would seem your former mentor and predecessor isn't as dedicated as I am in relation to disguises," Eirene mentioned once she looked like herself again, at least from her neck up, "Suzuki Taichi and Kiryu Kazuma could be twins. One look at his driver's picture on the company's directory and I could tell it was the same man... If he's truly as legendary as everyone tells me, I wonder how he made it thus far without anyone putting two and two together."

Eirene's movements were slow then - her undressing meant to be both a source of comfort (for her) and safety (for Daigo), as he was able to examine his partner for any concealed weapons. The woman then picked up a plastic bag from a convenience store, walking over to the yakuza and handing him a can - coffee, still pleasantly warm despite walk from the store to the hotel, keeping another to herself. It was late - and yet there was not going to be a lot of sleep for either of them anytime soon.

"How are you holding up, Dojima-kun?"

[denimbex1986]

'What would it be like to have conversations you always dreamed of having with someone you lost? This existential, deeply human question sits at the centre of All of Us Strangers, Andrew Haigh’s soulful, BAFTA-nominated adaptation of Taichi Yamada’s 1987 novel.

In a London tower block, a screenwriter struggles to put words to the page. That screenwriter is Adam (Andrew Scott), a fortysomething looking back at his childhood as the basis for a script, but falling prey to crippling melancholia. Searching for inspiration, he heads back to his old home and, to his shock, meets both of his parents (played by Claire Foy and Jamie Bell), perfectly preserved at the age they were when they died in a car accident when Adam was just a boy.

Sitting between the real and the fantastical, All of Us Strangers chronicles Adam’s conversations with his parents, as well as his blossoming relationship with younger neighbour Harry (Paul Mescal), allowing Haigh to beautifully explore the common threads between parental and romantic love. Here, we speak to the British director about the meaning of love, the value of the theatrical experience and the physicality of intimacy.

RAFA SALES ROSS: WITH ALL OF US STRANGERS, YOU EXPLORE THE IDEA OF MEETING YOUR PARENTS WHEN YOU ARE AROUND THE SAME AGE AS THEM. WAS THIS SOMETHING YOU’D THOUGHT ABOUT BEFORE WORKING ON THE FILM?

ANDREW HAIGH: We always think about what would happen if we could go back and have a reunion with our past, conversations with people that we never got to have and what would have happened if we had these conversations. I don’t even think it has to be about your parents, it can be about anybody that you’ve loved or has meant something to you — they don’t have to have died, either. Lots of people in our lives fade away and you never see them again. As you get older, you think more and more about past friendships, relationships, your relationship to your parents and how often you never got to discuss things that were really important. I think we all go through our life not talking about the things that are really important.

RSR: YOU SHOT THE FILM IN YOUR OWN CHILDHOOD HOME, AND IT EXPLORES VERY PERSONAL THEMES. DID YOU FEEL YOU NEEDED ANY SORT OF EMOTIONAL SAFEGUARDING?

AH: Not really. I like not having any emotional safeguarding because I want to see where it leads to. The emotions in a space can be difficult and complicated, but they don’t have to be terrifying – they can be productive. I was more intrigued about how I would feel. In many ways, I was looking forward to it. It wasn’t always easy being in that space, that house that had been there for 40-odd years. I didn’t necessarily have happy memories of being in that space. But at the same time, I knew it would be interesting – not just for me, but for grounding the film in felt reality – and that’s what I wanted. That’s why I wanted to throw myself into the film. Not because I wanted to have it as a therapy session, but to root it in something that feels real and genuine, and the only way I could do that was by being genuine.

RSR: DO YOU THINK BEING ALLOWED BACK IN THE HOUSE CHANGED THE FILM IN ANY WAY?

AH: I think it did because I understood that space and its details. I spent a lot of time wanting to make sure the wallpaper was exactly the same as the wallpaper we used to have, and the same sofa, and many other things. When the actors came in, they knew it meant something to me. Then, in a strange way, they were more open to bringing themselves into the project. It’s like if I start talking about my life, you would probably start talking about your life. That’s what happens in a conversation. From there onwards, we got this really interesting, intimate space where we weren’t afraid to feel vulnerable, and I feel this has helped with the texture of the film.

RSR: TALKING ABOUT BRINGING PEOPLE TOGETHER, THIS FILM IS QUITE EMOTIONAL TO WATCH IN A CINEMA. IS THE THEATRICAL EXPERIENCE SOMETHING YOU VALUE AS A FILMMAKER?

AH: I value it so much. This is a film about connection and about people sharing something collectively, an emotion that we all experience and that we don’t necessarily know how to communicate with each other. Putting people in a cinema, where you are sharing something with strangers, is important. You could be sitting next to someone that you don’t know and you will probably never see again, but you are both sharing an emotion. I think that’s really powerful.

RSR: I CAN’T IMAGINE IT’S EASY TO MAKE SUCH A PERSONAL FILM AND THEN HAVE TO GO THROUGH A PRESS CYCLE AND EXPOSE YOUR VULNERABILITIES OVER AND OVER AGAIN. YOU STILL REMAIN SO OPEN ABOUT THE FILM, WHY IS THAT?

AH: It’s been quite a strange process. Weirdly, at the beginning, I said to myself I wasn’t going to do any press, and now I’ve done loads and loads of it because people wanted to talk about the film, and I can’t talk about the film without it feeling personal. I am sort of torn about it because sometimes you can have a really nice conversation with someone and connect with them but, sometimes you feel like you’ve exposed yourself in a way. It’s a bit backwards and forwards with how I feel about it. But in the end I know the film is about vulnerability, about speaking to each other and connecting to people that you care about, so I feel like it’s something I have to do for this film.

RSR: HARRY AND ADAM’S CONVERSATION ABOUT THE TERM QUEER REMINDED ME OF THE SCENE IN WEEKEND WHEN ONE OF THE CHARACTERS IS CALLED QUEER IN SUCH A VENOMOUS, CRUEL WAY. WHAT DO YOU MAKE OF THIS PARALLEL?

AH: I actually had forgotten about that scene in Weekend. It’s interesting because I think the world has changed so much in the 12 years since I made that film. To be queer now in the world is so different to what it was, and certainly much different to what it was 10 years before, and 10 years before that. I think if there is a conversation between the films, it is about how much can change, but also how much an experience that you had growing up becomes so entwined with your very being that it can be very hard to get rid of that pain. Again, it’s something you feel like you should be able to escape from, but you can’t escape it unless you look it square in the face and say: ‘Why am I still feeling this?’ I find this conversation between the two films very interesting. Adam is 45 in the story, [Weekend’s] Russell is a bit younger, in his thirties. For me, it's almost like, how do I feel about queerness 10 years on?

RSR: IN ALL OF US STRANGERS, AS IN WEEKEND, THERE’S THIS IDEA OF ORPHANS BEING DEPRIVED OF PHYSICAL TOUCH BECAUSE OF THE LOSS OF THEIR PARENTS. HOW DO YOU RECONCILE THAT GRIEF WITH THE YEARNING FOR INTIMACY?

AH: Orphanhood is an interesting way of looking at loneliness because the people who are meant to love you the most are not around. Lots of people feel that, regardless of whether they’re orphans or not. They can still feel isolated from their family and experience that loneliness. What are you missing? Touch. Intimacy. And what is intimacy? It’s about being known, accepted and understood. Moments of intimacy are about reaching out, they’re about connection.

In this film, what was really interesting is that the intimacy between Adam and his parents is just as intense as the intimacy between Adam and Harry. There was so much touch between the parents, and to me that is the fundamental thing. Love between parents and children, and romantic love are almost the same thing. You have a sexual component to romance, but the two are so closely connected. They are about compassion, about understanding the intimacy of being known. You can’t understand romantic love without understanding parental love and how you felt being loved as a child. To me, that was really fascinating to dig into with this film, in order to understand the actual, essential nature of love.'

[fuzzychildchopshop]

Taichi and Agumon by skylights01

[hinagamoizaf]

Ishida-Yagami House Tour (Part 8) I had a ton of fun decorating their walls, even though I wouldn’t see it half the time. For gameplay purposes, I cut the upstairs office in half and added a one-tile bathroom connecting to the boys’ room. For my serotonin purposes, I was very happy to use the cat-tile wallpaper again from Snowy Escape. With their older sisters who had this room before them, I think I was strict on the ‘play violin, do homework’ grind for them. So for Mitsuhide & Subaru, I’m like okay boys you have decorative toys in the room, then you can go outside to play chess & be on the playground. They’re not as creative as their sisters, they’re more logical & being energetic kids. Speaking of the upstairs office,this was originally the guest room, Takeru & Taichi slept here before the house got too full. It’s now another skills area, I added a balcony for more creative endeavors. I like to pretend the household inventory is like an off-screen storage space, so if Taichi or Takeru do decide to visit,they can easily pull out the beds.

[ashxketchum]

HOPE ALL DIGIDESTINED HAD A HAPPY PRIDE MONTH, LOVE FROM MY OT4 🏳️‍🌈

[shinikamo]

Since in not gonna finish my actual Taichi day drawing in time have this Zero from a while back

I didn't draw this with a ref so I totally forgot her dress was longer at the back.... Maybe it's a different dress who knows

[soulmateszedits]

NIK ; La vida loca ᓚᘏᗢ

✧ Era

✧ AJ

[cherryblossomssmash]

A3: MASQUERADE: INVITATION

[tokiyaichi]

• A3! Phone Wallpapers (720x1280) — like or reblog if you save

[mankaiaddict]

“The Roman episode” themed wallpapers for @updatedautopsyrep0rt !!

Size: 1948x3464

Posted on the wrong account- please don’t mind that😅

[currywaifu]

❝ 𝟎𝟑/𝟑𝟎 𝐃𝐚𝐲𝐬 𝐨𝐟 𝐀𝟑! :: ˊˎ - Prompt: Autumn Troupe

╰─▸ decided to choose cards with earthy colour scheme outfits, also for no reason other than i thought it’d be fun~

╰─▸ alt sizes [1125 × 2436] under the cut/read more!

BANRI ALT SIZE:

JUZA ALT SIZE:

TAICHI ALT SIZE:

OMI ALT SIZE:

SAKYO ALT SIZE:

AZAMI ALT SIZE:

[satillquinart-mullcreed]

PLAY ONE TO SEVEN: AKIGUMI

Please reblog/like if you save and use!