#tokyo regionals 2023

[rabidline]

2023 Tokyo Regionals - September 24, 2023 Maria Egawa → Music from Cirque du Soleil: “O” by Benoit Jutras, choreographed by Kenji Miyamoto

[figureskatingcostumes]

Rinka Watanabe's unusual free program dress at the 2023 Tokyo Regionals, 2023 Finlandia Trophy and 2023 Skate Canada. She skated to music by Ólafur Arnalds, Woodkid and Max Richter, and music from Perfume: The Story of a Murderer.

Now that I look at it again, there are elements I like. But boy that neckline overwhelms everything.

(Sources: sponichitokyophoto, Wilma Alberti and Absolute Skating)

[absolutebl]

Could you recommend me 1-2 good "standard" bl from each of the main bl producing countries (China, Japan, Taiwan, Thailand and South Korea)? I'm interested in the differences in tropes and execution between bl from different countries, especially Taiwan and Thailand. I'm looking for bl that's highly rated because it's well-executed but doesn't stray from the expected formula for its region.

Great BLs that ALSO rep for their country's style

I really took the "represent" part seriously. Here are my (end of 2024) quick pulls, explanations etc in the linked posts at the bottom.

Japan

Seven Days (or I Cannot Reach You)

Old Fashion Cupcake

For the darker stuff: Tokyo in April is

Korea

Semantic Error

To My Star

For their new style of darker stuff: The 8th Sense or Love for Love's Sake

Thailand

These were absolutely the hardest to pick, so I couldn't stick to 2. There's just so much Thai BL.

My School President - best high school rep (heritage = Love of Siam, Love Sick, the true Thai BL beginnings)

Bad Buddy - best uni BL rep (heritage = 2gether, SOTUS, the beginning of Thai BL global dominance) alternative = Oxygen which is possibly the most classic Thai uni BL we have ever gotten (but Bad Buddy is better acted)

We Are - best GMMTV ensemble piece, heritage is actually also Love Sick, but in 2024 everyone is gay.

Lovely Writer - best meta

My Ride - best pulp

The Sign - best wild what-the-actual-fuck? ride (KinnPorshe also an option)

For an example of the few times Thailand got elevated: I Feel You Linger in the Air or A Tale of Thousand Stars. But these are atypical, we only get a few of them a year from Thailand.

Taiwan

These were the easiest to pick.

We Best Love

Be Loved In House: I Do

But actually: History 4: Make Our Day's Count will tell you everything you ever needed to know about Taiwanese BL in one mess of a show. It's just... not that great.

China

Addicted

Word of Honor

The Philippines

Gameboys

My Day

Vietnam

Mr Cinderella

My Lascivious Boss

But by most standards neither of these are actually very good.

Here's a 2022 post where I talk about the differences between country's styles and approaches.

If you want representative samples from a historical perspective than I do that here:

In that post, you'll need to decide what kind of representation you want to consume though, because some are very old, and others newer, since this is set up to learn about the evolution of the genre.

I also wrote a whole series on the history of the genre along with my top 10 picks at the time (2022). It's old now but still holds up for what you want. I would say pick any two from the top ten of each list, but please understand my personal taste leans toward the lighter fluffier fare. (Which means my top ten from places like Japan is very skewed. Also several countries have added new top 10, for me personally, in 2023 & 2024).

Here's a fun one on the tropes people love in the different countries

And a personal favorite, very silly and not helpful at all.

(source)

[matan4il]

Memo to the 'Experts': Stop Comparing Israel's War in Gaza to Anything. It Has No Precedent | by John Spencer

Israel's war against Hamas in Gaza has inevitably drawn comparisons to other battles or wars, both modern and from the past. These comparisons are mostly used to make the case that Israel's operations in Gaza are the most destructive in history, or the deadliest in history.

Yet while the use of historical analogy may be tempting for armchair pundits, in the case of Israel's current war, the comparisons are often poorly cited, the data used inaccurate, and crucial context left out. Given the scale and context of an enemy purposely entrenched in densely populated urban areas, as well as the presence of tunnels, hostages, rockets, attackers that follow the laws of war while defenders purposely do not, and proximity between the frontlines and the home front, there is basically no historical comparison for this war.

Let's start with the context: After Hamas crossed into Israel on Oct. 7, murdering over 1,200 Israelis in brutal ways that included mutilation and sexual assaults as well as taking over 200 hostages back into Gaza, Israel formally declared a defensive war against Hamas in Gaza in accordance with international law and the United Nations charter. Since, the IDF estimates it has killed 10,000 Hamas operatives, while Hamas claims that the total number of casualties is 24,000 (Hamas does not distinguish civilian deaths from militant deaths).

Hamas' strategy is to use Palestinian civilians as human shields, because their goal is not to defeat Israel's military or to hold terrain; it is far more sinister and medieval—to use the death and suffering of Palestinian civilians to rally international support to their cause and demand that Israel halt their war.

Meanwhile, Israel's war aims were more traditional: returning Israeli hostages, dismantling Hamas military capability, and securing their border to prevent another October 7 attack.

These goals required not one major urban battle but multiple. While Gaza is not the densest populated urban region on earth as many claim, it features over 20 densely-populated cities. And while the Israeli Defense Forces are engaged in fighting, Hamas has continued to launch over 12,000 rockets on nearly every day of the war from the combat area toward civilian-populated areas in Israel, literally over the heads of the attacking IDF, who it bears mentioning are fighting just a few miles from their homeland and the homes of their soldiers.

Put all of this together, this war is simply without precedent. Certainly, it cannot be compared to the host of other wars that have been used for comparison sake to paint Israel in an unflattering light.

Some have compared Israel to Russia, yet there is simply no comparison. In the 2022 Battle of Mariupol, estimates of the number of civilians killed range up to 25,000, including 600 civilians killed in a single bombing of a theater with the word "children" written in giant letters around it. This is the same Russia that killed over 50,000 civilians (5 percent) of a 1.1 million pre-war population of Chechnya in 20 months of combat in the late 1990s in multiple major urban battles such as Grozny.

Or take Syria. Over 300,00 civilians have been killed in the Syrian war; an average of 84 civilians were killed every day from 2013 to 2023.

Others have compared the battles in Gaza to World War II air campaigns like the UK bombing of the German city of Dresden in 1945 that killed an estimated 25,000 civilians. But here, too, memory is selective: These same people discount air campaign cases such as the U.S. firebombing of Tokyo the same year that killed over 300,000 civilians, to include 80,000 to 100,000 civilians in a single night, causing more death and destruction than Dresden, Hiroshima, or Nagaski.

A battle that does bear a resemblance to Israel's war against Hamas is the 1945 Battle of Manila—the largest urban struggle of World War II, with more civilian casualties incurred than even the Battle of Stalingrad. The city had a population of 1.1 million residents as well as over 1,000 American prisoners of war being held in the city. It took the U.S. military 35,000 forces and a whole month to defeat 17,000 Japanese Navy defenders in and around the city.

Like in Gaza, the defenders used the city's sewer and tunnel systems for offensive and defensive purposes. And there were over 100,000 civilian deaths from the battle—one of the major factors of the 1949 Geneva Conventions, which stipulated the laws of armed conflict to further protect civilians and prevent civilian deaths.

Most experts compare the Gaza war to the recent urban battles against ISIS involving United States forces, including the 2016-17 Battle of Mosul. In that battle, over 100,000 Iraqi Security Forces, backed by American advisors and U.S. and coalition air power, took nine months to clear a city of 3,000 to 5,000 lightly armed ISIS fighters. The battle resulted in over 10,000 civilian deaths, 138,000 houses destroyed or damaged and 58,000 damaged with 40,000 homes destroyed outright in just Western Mosul. Iraqi Security Forces suffered 10,000 casualties. There were very limited, shallow, house-to-house tunnels, but no tunnel networks, no hostages, no rockets.

In April of 2004, the U.S. military was directed to arrest the perpetrators of an attack that caused the death of four American civilians and deny insurgents sanctuary in the densely populated city of Fallujah, Iraq, a city of 300,000 residents. The battle that ensued was later dubbed the First Battle of Fallujah. Because of international condemnation and political instability fueled by international media over a perceived indiscriminate use of force and civilian casualties, the U.S. forces were ordered by the U.S. Central Command Commander to stop the battle six days into it.

Estimates of the total civilian deaths from the battle range from 220 to 600. Six months later, in November 2004, the U.S. military initiated the Second Battle of Fallujah. It took 13,000-15,000 U.S., UK, and Iraqi forces six weeks to clear the city of 3,000 insurgents. There were some 800 civilian deaths even though the city's residents had largely evacuated before the battle. Over sixty percent the city's buildings were damaged or destroyed. But there, too, the enemy defenders did not have access to tunnels.

Ultimately, comparisons with both past and modern cases highlight the fact that there is almost no way to defeat an entrenched enemy defender without destruction, even while implementing all feasible precautions and limits on the use of force required by the laws of war.

Let's put away our military history books. There is no comparison to what Israel has faced in Gaza—certainly none by which Israel comes out looking the worse.

John Spencer is chair of urban warfare studies at the Modern War Institute (MWI) at West Point, codirector of MWI's Urban Warfare Project and host of the "Urban Warfare Project Podcast." He served for 25 years as an infantry soldier, which included two combat tours in Iraq. He is the author of the book Connected Soldiers: Life, Leadership, and Social Connection in Modern War and co-author of Understanding Urban Warfare.

[grim-grimmsnarl]

NEWS: You know it’s the end of the year when a new Pokemon Sitting cuties set is revealed. Every single Pokemon in the Unova region will be getting a plush. This includes alternate forms, making this the biggest Sitting cuties set so far at 174 plushes total. These will be available in Japan on January 14th 2023.

A limited edition Pokemon Black & White popup shop will also open in the Kanagawa Prefecture of Tokyo, Japan on January 14th and close January 31st. If you spend more than 4,000 yen (30$ USD) at the shop, you’ll get a free display box for Sitting cutie plushes.

[keikotwins]

Mokumokuren

Birds of different feathers flock together

Noticed online by head-hunting publishers, Mokumokuren hasn’t waited very long before polarising the attention of Japanese readers. With strange The Summer Hikaru Died, horrific bromance dealing with body dispossession, the mangaka signs a series of sophisticated oddity, that sets itself apart from the predictability of current fantasy productions.

Interview by Fausto Fasulo. Original translation: Aurélien Estager. English translation: “Keikotwins”. Bibliography: Marius Chapuis. Thanks: Camille Hospital & Clarisse Langlet (Pika), Yuta Nabatame, Mayuko Yamamoto & Mana Kukimoto (Kadokawa), Chiho Muramatsu (Tohan)

(T/N: Interview given to ATOM in winter 2023; 2 volumes were out in French.)

-

In an interview given to the CREA website in November 2022, you confided inventing stories since very young. Did your first fictions resemble the ones you draw nowadays?

It’s true that there are quite a lot of common points between the stories I imagined when I was a child and the ones I tell nowadays in my mangas. Especially a specific motif, that has been haunting me since the time when I wasn’t really aware of the world surrounding me: the presence amongst us of “non-human” beings, that nonetheless have a perfectly normal, ordinary appearance…

And how was this “obsession” born?

Precisely identifying the origins is complicated, my memories are too blurry, I think… What I can tell you is that I’ve always been fascinated by “creatures”. For example, I remember being very impressed by Peter Jackson’s bestiary in the Lord of the Rings trilogy. By the way, still in a fantasy register, I am also a big fan of Harry Potter adaptations… (She thinks.) And I’ve always liked yōkai stories, you know. I think that what I like in all these mythologies is the idea of species classification: each has its own characteristics – physical, biological – its own way to apprehend its environment.

In Japan, yōkai are integral part of regional folklore. Did the place you grew up in have some specific beliefs?

I was born and grew up in Tokyo, and, as you must know, yōkai are mostly associated with rural areas. I was thus never really bathed in this type of regional fantasy folklore. There are all kinds of yōkai and we can perhaps see in some more contemporary urban legends the echo of certain past beliefs? (She thinks.) I am a bit frustrated, because I believe that I could remember a legend that would have impacted me, but nothing comes to mind immediately, sorry!

You have already said so in an interview and it’s quite obvious when reading your work: you are a big amateur of horrific fiction. What has been your first contact with the genre, all medium included?

It was television that introduced me to horror: special shows, television films, series, I was watching these programs with a mix of fear and enthusiasm, a confused sensation that particularly delighted me! (She thinks.) And amongst all the aired shows, I will remember two titles: Hontō ni atta kowai hanashi and Kaidan shin mimibukuro*.

* Inspired by the homonymous manga magazine published by Asahi Shimbun, Hontō ni atta kowai hanashi (lit. “Scary stories that really happened”) is a series produced by Fuji Television that has been airing more or less weekly since 2004. Derived from literary material (a series of compilations of hundreds of short stories by Hirokatsu Kihara and Ichirō Nakayama, published from 1990 to 2005) Kaidan shin mimibukuro is a series made of several short movies depicting ghost stories based on real testimony.

Did you read horror mangas when you were young?

Let’s say that I was more interested in live-action productions. Nowadays, I obviously appreciate some horror manga authors, without pretending to be any expert in the subject. For example, I like Junji Itō’s work, but I am far from knowing it for a long time… (She thinks.) I could also talk about Shigeru Mizuki, who I also appreciate a lot.

The mechanics of fear aren’t the same in occidental and oriental fictions. You like American horrific productions – like Ari Aster movies – as much as ones from Japanese origin – you notably quote Ichi Sawamura novels and Kōji Shiraishi feature films. Can we say that you are tying these two perspectives with The Summer Hikaru Died?

My relationship with horror is more imbued with oriental sensitivity. But what I find remarkable in occidental horrific productions is work on image. In The Shining like in Ari Aster movies, for example, there is real research made on frame composition and choice of colours. I also try to follow this aesthetic reflection in my work as a mangaka.

In Ari Aster’s work, beyond the very precise staging, there is this permanent desire of ambiguity. Do you try to dig this same equivocal trench?

Absolutely. I try to tell complex feelings as well in The Summer Hikaru Died, like fear dyed with nostalgia or attachment, repulsion mixed with fascination, with attraction…

How do you “sort out” the shots that inspire you in cinema?

I don’t draw while freeze-framing during specific scenes. I would always rather watch a movie as a “focussed” spectator. However, I pay a lot of attention to the way the director composes their frame. I sometimes take some notes, but I most often simply keep it in a corner of my mind.

Could you tell us when and how the story and characters of The Summer Hikaru Died appeared to you? Have they matured a long time within you?

I’ve started thinking about this story when I was preparing university entrance exams. I was aspiring to join an art uni, and I was drawing every day. I can’t really say I made my characters “mature”: back then, I wasn’t thinking that the drawings I was making would one day end up being published, way less being serialised! I innocently created characters close to me, without guessing that one day they’d become manga protagonists.

One of your foundational reads was Sui Ishida’s Tokyo Ghoul manga. Can you tell us how you discovered it and what effect it had on you?

I don’t really remember how I discovered this series, but what I know is that I became crazy about it at first read. What I liked – and what I still like – is this idea of telling a story that confronts humans to these “different” beings while following the point of view of a character that represents alterity. Beyond this strictly dramatic aspect, Sui Ishida’s storyboarding and character design have had a strong impact on my work. However, I want to add that Tokyo Ghoul isn’t the only title I took inspiration from, I obviously have other references…

Do you do a lot of researches to define the design of your characters? You seem to draw them easily, in a very natural gesture…

I haven’t spent a long time defining my protagonists. First, there are few in the manga, then, they evolve in a rather realistic universe. My goal was rather simple: they had to look believable in the reader’s eyes. I wanted people to be able to imagine crossing them in the street, you see?

It’s after seeing illustrations posted on social media that depicted the future characters of The Summer Hikaru Died that the publishing department of the Young Ace Up magazine noticed you. How have you reacted when approached?

I was very surprised, because I absolutely wasn’t trying to become a mangaka. I would have never projected in such a future, you see. And, very honestly, if they hadn’t suggested working on this series, I don’t think I would ever had pushed the doors of a publishing house… I am then very thankful towards the persons who have allowed me to enter.

And what would you have done if you hadn’t been solicited?

Back when I’ve been contacted, I was considering – still vaguely – working in the video games field. But I wasn’t really proactive, I wasn’t contacting anyone, wasn’t sending resumes…

Did you want to do chara-design?

Why not, yes. What I like in video games is the range of possibilities they offer. You can then create an entire universe and this is rather exhilarating.

So you’re a gamer…

I have dropped my controller since I’ve started drawing manga. But yes, when I had more time, I played rather regularly, especially Nintendo productions…

Even if you play rather little nowadays, do video games influence your work?

I can’t say whether it really is an influence, but the Undertale game has left a big mark on me. I felt its creator’s strong will to surprise players, to make them feel unprecedented sensations…

Horror manga only relies on art and storyboard to provoke fear, whereas cinema and video games can also rely on sound. Is it from this observation that you have decided to particularly work on your sound effects?

Absolutely. I have thought a lot about the way to introduce and stage sound in The Summer Hikaru Died. The sound effects that you can find in the manga are indeed the result of this approach.

In an interview given to the Realsound website, you mention the use of the シャワシャワ (“shawa shawa”) sound effect. Knowing that occidental readers are way less sensitive to these graphicoustic details, can you explain its meaning?

“Shawa shawa” expresses the song cicadas make in western Japan. It’s a very special noise because in the different regions live different species that make specific sounds. So when I choose this specific sound effect, I convey a geographic and temporal piece of information to the reader, who can then guess the location and season the action takes place in. (She thinks.) When using this sound – that we especially find in the beginning of the manga – my goal was to play with silence, particularly when the song stops. I thus had the idea of representing this sound effect with an easily readable font, so the reader would make no effort to decipher it, as if the sound was asserting itself naturally, you see? I hoped to suggest a saturation they couldn’t avoid and that, when it’d stop, would immerse them in absolute silence.

The Summer Hikaru Died transcribes very well this particular atmosphere of Japanese summers…

Yes, I really wanted to signify this languor in my manga. And the cicadas’ song we discussed earlier contributes to creating this atmosphere: it’s an overwhelming sound, sometimes irritating, you cannot escape from in summer – Japanese readers obviously know what I’m talking about. (She thinks.) I also gave special attention to shadows: summer light being very bright, shadows are very sharp, very deep.

Do digital tools allow you to get this result more efficiently than traditional?

I work on Clip Studio Paint, and it’s true that it sometimes allow me to save time. Consider the work on shadows: I never apply solid black because I like saturating space with hatches and, with digital tools, I can obtain the desired result faster because I can duplicate each of my lines.

Your use of hatches is sometimes reminiscent of Shūzō Oshimi’s…

I don’t know his mangas very well, but it’s funny that you mention him because I recently read his latest series, Okaeri Alice. In any case, I really like his style and I perfectly understand how you can bring his universe and mine together.

The Summer Hikaru Died relies on the concept of body dispossession, that obviously takes back to the Body Snatcher novel by Jack Finney and its movie adaptations. Did you think about it?

I don’t know this book very well, but I know its theme has been approached often, especially in movies. As I was saying at the beginning of this interview, my idea was to adopt the point of view of a non-human and tell his indecision, his moral questions…

We also find this idea in Hitoshi Iwaaki’s Parasite…

I haven’t read the manga fully, but I’ve watched the anime adaptation that was released a few years ago (R/N: in 2014). I remember rather liking it, even if I think I offer something different with The Summer Hikaru Died. What interests me is sounding the inwardness of my non-human character out and expose all his dilemmas. What is his place amongst men? Is he legitimate in our world? Here is the type of questions that pushed me.

One of the impacting scenes of volume 1 of The Summer Hikaru Died is the one when Yoshiki penetrated Hikaru’s body by shoving his arm into his torso. It’s a sequence that is both very sensuaI – to not say sexuaI – and also very horrific. How did you get this idea?

I wanted to put the readers in an uncomfortable position. A stressful situation that could take several forms because, according to your sensitivity, you can feel very different emotions in front of this scene: sexuaI arousaI, fear or disgust. For me, it was supposed to put the reader in some kind of catatonia, you see?

Do you chat a lot with your tantō, especially around these slightly “complicated” scenes?

I have free rein, you know, I can draw everything I want. My editorial supervisor has never asked me to temper some sexuaIIy connotated parts. My discussions with him don’t revolve around this kind of things, but rather around the structure of the scenario itself: where to place this scene in the narration? Is it better to put this sequence before this other one? Nowadays, I am more at ease with all the scripting layout but, at the beginning, I needed support.

What allows you to get, from a dramatic point of view, the mix between bromance and horror?

I wanted to show the differences in sensitivities and values between a human being and an “other than human”, and tell the misunderstandings this can cause when both meet. When Yoshiki “scratches” under the appearance of the one who is supposed to be his best friend, it creates a first point of conflict in the story. I then hoped to make his relationship with Hikaru – or rather with the “entity” that pretends to embody him – a kind of undefinable bond, that wouldn’t be friendship, nor love.

Do you know today where this strange relationship between your two heroes will lead you?

I know more or less how all of this will evolve, yes. I have decided on my story’s general plot since the beginning. I can only tell you that The Summer Hikaru Died won’t be a long series.

How do you explain the almost instant public plebiscite of your series in Japan? You perhaps cannot have perspective on it but, in a saturated publishing landscape, you have managed to stand out…

Hm… Indeed, I don’t really have precise explanations to give you about this success. Maybe the covers’ design has been in favour of the manga? I asked the person in charge of graphics to make sure that the visuals would be noticeable in bookstores. That’s why the books have this monochrome aspect, with the title discreetly placed. I didn’t want obvious advertisement banners, but something simple, like this blue background for the first volume, on which the character stands out. I also wished to create contrast between the jacket’s and the inner cover’s drawings. I thus had requirements that didn’t quite go alongside what we can nowadays see on the shelves of Japanese bookstores.

[tailschannel]

Here's a complete recap of everything featured in this year's Sonic Central presentation

New collaborations with LEGO, an upcoming Sonic Frontiers DLC update, and a first look at Part 2 of Sonic Prime were among the major highlights in this year's Sonic Central presentation.

Here's everything you need to know.

Sonic Frontiers

Details on the second major content update for Sonic Frontiers was revealed in the Sonic Central. Titled "Sonic's Birthday Bash", it's scheduled for a release on 23 June 2023.

Sonic's Birthday: Celebrate Sonic's birthday in Sonic Frontiers with a new birthday theme, including a festive HUD, environment objects, a new birthday skin, and more!

Open Zone Challenges: Explore the Open Zone with all new challanges scattered throughout.

Spindash: The iconic Sonic move makes a return in Sonic Frontiers!

New Kocos: Some Kocos seem to dawn new outfits and some do seem a bit bigger than usual.

New Game Plus.

Sonic Superstars

A new teaser was shown promoting the new Sonic Superstars and LEGO collaboration, featuring LEGO Eggman as a pre-order bonus.

Following the presentation, SEGA dropped new renders and descriptions for all the characters featured in the upcoming game.

Trip: Not much is known yet about Trip, the mysterious girl first encountered by Fang on the Northstar Islands. While a bit clumsy, Trip is heavily armored and has been enlisted by Fang and Dr. Eggman to protect and guide them around the wonders of this uncharted region.

Fang the Hunter (formerly Fang the Sniper): Fang is a springy jerboa that is light on his feet and is always looking for the next big score. A bounty hunter by trade, Fang the Hunter has been known by many different names over the years, likely due to his “WANTED” status with the authorities. Always trying to stay one step ahead, he’s constantly modifying and upgrading his primary mode of transportation, the Marvelous Queen.

You can check out the rest of the descriptions for Sonic, Amy, Tails, Knuckles and Eggman here.

The official Sonic the Hedgehog YouTube channel also uploaded a new 3-minute video featuring Superstars producer Naoto Ohshima and Sonic Studio creative officer Takashi Iizuka.

They "talk in-depth about Superstars, including inspirations, challenges, and what it's like to create a new character."

Sonic Symphony World Tour

Here are the official tour dates for the Sonic Symphony from 2023 to 2024:

Sept 16, 2023 - London, Barbican Hall

Sept 22, 2023 - Paris, Le Grand Rex

Sept 30, 2023 - Los Angeles, Dolby Theatre

Oct 14-15, 2023 - São Paulo, Brasil Game Show

Oct 21, 2023 - Boston, Emerson Colonial Theatre

Oct 28, 2023 - Chicago, Auditorium Theatre

Nov 17, 2023 - Düsseldorf, Mitsubishi Electric Halle

Dec 15, 2023 - San Antonio, Majestic Theatre

Dec 29, 2023 - Atlanta, Cobb Energy P.A.C.

Jan 05, 2024 - Seattle, Paramount Theatre

Jan 06, 2024 - San Francisco, Davies Symphony Hall

Jan 20, 2024 - Washington DC, Warner Theater

Jan 27, 2024 - Kansas City, Kansas City Music Hall

Feb 11, 2024 - Tokyo, LINE CUBE SHIBUYA

Feb 17, 2024 - Toronto, Meridian Hall

Mar 24, 2024 - Montreal, Wilfrid-Pelletier Theater

Mar 29, 2024 - Portland, Schnitzer Auditorium

For more information such as ticket pricing and availability, check out the above links.

Sonic Prime

A new extended clip of the upcoming second content drop of Sonic Prime was previewed. It's scheduled to make its debut on Netflix in 13 July.

With the help of his ragtag group of Shatterverse allies, Sonic battles the Chaos Council for control of the powerful Paradox Prism, one Shard at a time.

Sonic Dash and Speed Battle

A new Classic Super Sonic skin will be joining SEGA HARDlight's flagship titles Speed Battle and Dash soon.

Other things of note, as reported last week:

To coincide with the release of the 2nd season of Sonic Prime, characters from Prime will be playable in Dash, including Boscage Sonic, Rusty Rose, and Tails Nine.

Alongside the Prime characters, Super Silver and an all new Dragon Hunter Lancelot will make their debut in Dash and Speed Battle later this month.

San Diego Comic-Con 2023

With Comic-Con coming this summer, a new pop-up restaurant featuring the blue blur will open near the show floor.

More details will be announced in the weeks ahead.

Merchandise

New Death Egg Set from Jakks Pacific: Based on the Sonic 4 Episode 2 final boss, fight The Egg Heart in the new Death Egg set.

Streetwear brand Hypland announced their collaboration with Sonic the Hedgehog: The limited edition collection features an assortment of graphic tees and hoodies featuring Sonic and his friends meshed into contemporary streetwear designs.

S-Fire Sonic Statue: Pre-order the new Sonic & Shadow statue today with augmented reality compatibility.

Sonic has officially announced a collaboration with the popular shoe brand Crocs. As reported back in late May: it's available in adult and kids sizes, for $49.99 USD and $44.99 USD respectively. Besides the shoes themselves, Crocs will be offering Jibbitz charms. They will be coming in a pack of 5 with Sonic, Tails, Knuckles, Amy, and Shadow, offered at $19.99 USD.

Other things of note: a Sonic-themed Playmate cooler from Igloo, a themed guitar from ESP Guitars, and Sonic and Shadow Cable Guy figures.

Sonic Origins Plus

With Origins Plus out, SEGA released a new launch trailer.

With more content than ever before, and a new premium physical version, Sonic Origins Plus is the definitive way to play 16 classic Sonic games in one timeless collection.

LEGO

SEGA officially previewed the Death Egg Robot set, now scheduled for a release in August.

As reported via a leak earlier this month, it contains a Sonic mini figure accompanied with his speed sphere mechanism and the launcher to it; and the Death Egg Robot piloted by Eggman, and Cubot.

Samba de Amigo: Party Central

As reported, the upcoming Samba De Amigo: Party Central will be featuring the world's famous hedgehog as a guest character.

The game will feature two iconic Sonic tunes, Escape From the City and Fist Bump, alongside the City Escape stage itself.

IDW Sonic the Hedgehog

Today's Central presentation made a brief mention of IDW Publishing's upcoming one-shot issue for the Sonic the Hedgehog comic book series: Amy Rose's 30th Anniversary.

You can read more details in our report from earlier today.

Sonic Speed Simulator

Despite the developer's controversies, the officially-licenced Speed Simulator got a mention in the Central presentation.

Users can celebrate Sonic's birthday in style with the new Tuxedo Classic Sonic skin, out now.

Lastly...

TailsTube got a shoutout, and voice actor Mike Pollock dropped some fire bars in the LEGO collaboration video.

...and that's all! For news and updates anytime, be sure to follow @TailsChannel where you are on social media.

(Files contributed by the Tails' Channel Newsfeed.)

[avatar-news]

Update: It’s now April 2nd so I can confirm this was an April Fools’ Day joke! Check out some behind-the-scenes of Avatar News’ secret collaboration with Pokemon artist Maohi Region here!

Original below:

Pokemon Avatar Legends mainline crossover game coming to Nintendo Switch in fall 2024

This weekend at the 2023 Tokyo Consumer Electronics Convention, Nintendo and Paramount Japan unexpectedly announced a “mainline crossover game” between the worlds of Pokemon and Avatar, taking both the Pokemon Legends and Avatar Legends names to form something new and very unique: Pokemon Avatar Legends, coming to Nintendo Switch in fall 2024.

This was a blink-and-you-miss-it reveal as part of Nintendo’s presentation on their plans to expand their collaborations with western brands thanks to their confidence in the upcoming Super Mario Bros. movie made with Universal Pictures’ Illumination animation studio (technically one of Avatar Studios’ competitors!).

Right now the only info we have is in Japanese so I did my best with Google Translate, but the gist of it is that the Pokemon Legends brand is pivoting from its first game Pokemon Legends: Arceus’ historical alternate time period of an existing Pokemon region to totally alternate universes with regions and Pokedexes inspired by other franchises’ worlds, starting with Avatar.

The only images we have are these two slides from their presentation from Yahoo Finance Japan (if I can find them in higher resolution I’ll update this). One is just the game’s logo (which notably features a new simplified version of the Avatar logo) and the other is, very excitingly, a look at what are presumably the starter Pokemon, but instead of the usual three (grass, fire, water) there are a familiar four: water, earth, fire, air!

Water: polar bear dog (including the symbol from Naga’s harness?)

Earth/grass?: saber-tooth moose lion (specifically Sokka’s encounter with Foo Foo Cuddlypoops lol?)

Fire: dragon

Air/flying?: winged lemur

They’re literally so cute and it’s crazy seeing them translated into Pokemon style, but they did a good job-- whoever “they” is, not sure if these designs went through the standard Pokemon company process or if Avatar Studios contributed.

Speaking of which, right now we’re really not sure how this collaboration is going to work. The above is pretty much all the info we have right now-- it looks like the convention is mostly about business and Nintendo’s presentation was mostly about the Mario movie and Super Nintendo World at Universal Studios, with this new game basically just mentioned in passing as one of the ways they’re going to start expanding beyond that. I’m guessing there will be news in the US on Monday explaining more what’s going on from the Avatar franchise side. We’ve known for a while that Avatar Studios is making a big push with video games but no one could have guessed that this would be part of it!

Sit tight for more info, it should be coming soon!

[putschki1969]

Broadcasting Schedule of “NHK WORLD – JAPAN MUSIC FESTIVAL” on NHK

Below is the information on when the “NHK WORLD – JAPAN MUSIC FESTIVAL” program will be aired, which was filmed on October 28th (Saturday), 2023 at the NHK Hall in Tokyo. The event can be viewed in 160 countries and regions around the world. It will showcase Japan's latest and cutting-edge artists to fans overseas.

NHK WORLD – JAPAN MUSIC FESTIVAL

NHK WORLD – JAPAN Channel: Part 1. 9:10 – 9:59 AM, November 19th (Sunday), 2023 (Broadcasted again in accordance with each country’s time zone from 3:10 PM, 9:10 PM, and 3:10 AM of next day) Part 2. 9:10 – 9:59 AM, November 26th (Sunday), 2023 (Broadcasted again in accordance with each county’s time zone from 3:10 PM, 9:10 PM, and 3:10 AM of next day)

NHK G Channel: 10:35 – 11:35 PM, January 3rd (Wednesday), 2024

Yuki Kajiura: Celebrating 30 years since her debut, Kajiura Yuki is a legend in the Japanese anime music scene. She performs a special medley, including the main theme of Kimetsu no Yaiba, and (!!!)Magia(!!!) [featuring Hikaru!], the theme song to Puella Magi Madoka Magica, along with SOUKYUU NO FANFARE, the 10th anniversary theme song for Sword Art Online featuring special guests ASCA and ReoNA.

Hikaru ch. 1st Anniversary Event

Official merchandise has been revealed for Hikaru's upcoming anniversary event on November 11. ◆Official Event Goods ・Acrylic stand (~6cm) ・Photocard Set (2 types) ・Logo Badge Set (32mm) ◆Original Drink (2 types) Comes with a random coaster (3 versions) ◆B-day LIVE Goods [remaining stocks] ・T-Shirt ・Cap ・Sicker set

Title: 『Hikaru 1st Anniversary Event』 Date: 2023/11/11 Venue: Akihabara TALK LIVE BAR from scratch Day: open 13:45; start 14:30; Night: open 17:15; start 18:00 Ticket price: ~4000 yen Ticket sale: 9/23 21:00〜10/07 23:59 ※first come, first served ↓↓ https://t.livepocket.jp/e/cm7zu

[freifraufischer]

The New Zealand Problem

Sometimes you can see the issue that will light the gymternet on fire a mile away before anyone has even seen the smoke. And sometimes that fire had always existed.

In gymnastics one of the paths to qualification at the Olympics goes to the single highest all around placement at each continental championship from a country that did not qualify a team already. This is fairly straight forward in most places but gets dicey in one corner of the world. The Oceania Gymnastics Union is essentially a continental federation of 2 countries. Yes there are other members (Guam, Tonga, Fiji, Cook Islands, and America Samoa), but there are no elite gymnasts from those countries. Australia qualified a women's team to the Olympics, so by default that means a Kiwi WAG gets an Olympic spot. At least according to FIG. But they aren't the only ones who get to decide who is an Olympian.

I've talked about "No Olympic Tourist" Policies before, and people may have run into them in regard to Sweden and ice skating, but many small to medium sized countries have policies to limit the size of their own Olympic teams for budget reasons. These national Olympic committees (NOC) set criteria that are higher than the general qualification rules for a given sport. Sweden's is often considered the most extreme (you have to show you are in the top eight in the world, meaning you can make an Olympic final and contend for a medal. The reason they're called No Olympic Tourist Policies is because you wont be sent to the Olympics just to be there.

New Zealand has had a No Olympic Tourist Policy for decades, and while their criteria is less extreme then Sweden's it works similarly. You have to convince the NZOC that you are within the top 16 in the world (the ability to make a semifinal in athletics or swimming where races are 8 lanes wide). In 2012 Jordan Rae was one of the last gymnasts to qualify at the London Test Event, but NZOC turned down her spot and it passed on to Đỗ Thị Ngân Thương of Vietnam who finished behind her and who went on to compete in London.

In this interview from 2016, Rhythmic gymnast Tanya Moss-Barry who represented New Zealand in Los Angeles describes how initially they believed that New Zealand would send no gymnasts to the Olympics that year. Only a top 8 finish at an event in Tokyo convinced the NZOC to send her, and she believes it was at the expense of equally deserving WAG and MAG gymnasts. They would send only one of them.

It appears that Courtney McGregor was sent to Rio on the basis of her vaulting competitiveness. Which itself suggests that the people making the decisions at the NZOC don't really know much about gymnastics. McGregor came in 4th on vault at the Rio test event and 17th at 2015 Worlds. But as anyone who knows gymnastics knows... vault fields are much smaller than other apparatus and a finish in the teens doesn't mean you are as competitive as one on the other apparatus. But more power to them if they were able to get the Olympic committee to send her on that basis.

So the problem for 2024.

The WAG Olympic Qualification road has handed an Olympic spot to New Zealand by default. There are no other elite gymnasts in the region it can go to and no mechanism for that spot to be reallocated to anyone outside of Oceania. And based on the results from Worlds it is highly doubtful that the NZOC will consider either Madeleine Marshall (93rd in the AA and 110th on beam) or Reece Cobb (102nd in the AA and 56th on beam) to be competitive. Courtney McGregor is making a comeback but without competing elite in years I'm not sure how she makes that case either.

Georgia-Rose Brown recently changed countries from Australia to New Zealand but she almost certainly is banking on making an argument for her competitiveness based on her bars results (she came in 4th and 5th on bars at two World Cups in 2023). Maybe the people making a choice at NZOC wont know that 2023 World Cups aren't evidence of competitiveness. Her best bars result of the entire quad would have put her in 22nd on bars at 2023 Worlds. If she qualifies here is to hoping she can make a case. But it does raise the question of if she knew about the NZOC policy before changing countries or if she saw the automatic NZ WAG qualification spot as an opportunity and didn't realize there was an extra step. I have to believe she went into it knowing though. The NZOC is pretty well known in Kiwi circles.

So what happens to this spot if it goes to a Kiwi and the NZOC turns it down? Well... that's not clear. It could go unfilled. Or FIG could ask the IOC permission to let them revert it to the Worlds AA results as Australia's team means that Oceania already had representation.

Or some smart cookie NCAA gymnast with ties to Guam or Fiji could make a country change REAL soon and find themselves at the Olympics with a relatively easy path.

[rabidline]

2023 Tokyo Regionals - September 24, 2023 Marin Honda → Music from "The Little Mermaid" by Alan Menken: Part of Your World, performed by Halle Bailey, choreographed by Kenji Miyamoto

[figureskatingcostumes]

Maria Egawa's short program costume at the 2023 Japanese Nationals and 2023 Tokyo Regionals.

(Sources: 1 and 2)

[mariacallous]

Six weeks after Li Wenliang blew the whistle in Wuhan on an emerging infectious disease in early 2020, cities around the world locked down and turned into hotspots. From Rome to Tokyo to San Francisco and Los Angeles, COVID-19 ripped through the most populated areas of the world. By the end of that year, America’s cities—Detroit, Boston, and New Orleans among them—had death rates from the virus 20 percent higher than other regions of the country.

In New York, where I serve as health commissioner, almost 50,000 residents died, the majority in the first three months, denting New Yorkers’ life expectancy by nearly five years. It was the steepest drop in lifespan in the world that year.

Public health institutions and the field as a whole learned much from our successes and failures during the pandemic. The critical nature of healthcare supply chains; supporting our public health workforce, especially at the front lines; the essential process of community engagement for healthcare promotion, vaccination, and disease prevention; the importance of combatting misinformation and disinformation online and in person; the need to tear down our data silos so we can make faster, better decisions. The list goes on and on.

However, as new threats arise and old ones intensify, there is still much to learn. Cities—concrete jungles that experienced the worst of COVID-19, and in some ways, struggled the most with the public health response in the early days of the pandemic—may be our best teachers on how to keep our world safe and healthy.

That’s because the sentinel cases for brooding public health threats, whether infectious or not, are often in cities. Cities are the canaries in the public health coal mine, for everything from mental health and homelessness, climate change to forced migration, substance use to sex trafficking. The way these challenges play out across our cities should not only drive national policy, but also serve as an important corollary for how to respond in less dense, less diverse, more rural areas. Yet when we consider the multilateral institutions where decisions are made and policymaking happens, cities rarely have any role in governance.

The reasons for city-as-public-health-epicenter are simultaneously obvious and not so obvious. For one, urban densification has accounted for the majority of population growth, even as land mass occupied by cities is growing. Today, around 56 percent of the world’s population live in cities—a percentage that experts expect will grow to 70 percent, with population doubling, by 2050. There is also the historic boom in airplane travel both domestically and internationally, which means communicable diseases (like SARS, swine flu, and mpox) can leap across borders faster than ever, quickly overtaking cities’ health systems.

An example of this in New York City in 2022 was when an old virus, mpox (formerly known as monkeypox), began circulating in explosive new ways among men who have sex with men. NYC had become the national and global epicenter.

Despite facing critical shortages of vaccine, in June 2022 we began vaccinating men who had the highest risk of getting infected, well ahead of the anyone else in the nation, including the federal government. This critical intervention to curb the virus’s spread helped bend the curve of mpox within a few weeks, by early August. Not only did our response set the tone for the rest of the national mpox response, it also influenced the way in which many other global centers responded.

The same happened with tuberculosis (TB), another old microbe—and one that remains a leading infectious killer in the world. Between 2022 and 2023, the U.S. has seen a dramatic 14 percent year-on-year increase in tuberculosis cases nationwide. NYC is once again at the country’s frontlines, with a 28 percent increase over the same period. The drivers of TB’s resurgence are manifold, but one is the shifting pattern of migration worldwide due to climate change, war, and economic and political instability.

NYC health officials again leapt into action. We not only increased investment into our TB program in response, but since 2014 have pioneered new and effective ways to control the disease including award-winning “video directly observed therapy” where a health worker observes the patient taking their daily medications. This telehealth protocol has now become a part of TB control guidance recommended by the World Health Organization.

But while cities like New York are battling disease threats with drive and innovation, a lack of formal representation in multilateral institutions means that cities are more susceptible to security concerns, bioterrorism, and economic disruption. Cities are largely expected to navigate their response to global health crises in silos, without a clear and dedicated means to exchange ideas between them. Moreover, they typically do not have a meaningful say in how their national counterparts navigate domestic responses or global deliberations.

That was New York City’s early experience during the pandemic.

As COVID-19 tore through our five boroughs in the early weeks and months—from Sheepshead Bay and Jamaica to Battery Park, Harlem and Hunts Point—New York’s public health authorities produced their own messaging campaigns; partnered with private corporations and others to source materials and protective equipment for healthcare workers to care for those in need; stood up a free testing network, and later; designed their own vaccine distribution system and engaged deeply with communities to promote vaccine uptake. These responses were—especially early in the pandemic—developed in the absence of clear national and international guidance, or resources. And our experience in the start-up phase of the pandemic response was not unique, with cities from Los Angeles to Chicago to Boston to Miami facing similar challenges.

If we don’t formally involve cities in our national systems for disease surveillance and public health response, we lose out. Best practices disappear into the archives. Innovative strategies collect dust in the pages of textbooks and journals. How can cities effectively respond to burgeoning health threats when institutional memory fades, and when protocols developed at national scale lack the specificity or practicality to actualize in our alleys or on our sidewalks?

A better strategy may pull from the discipline of political science: specifically, a concept known as “inclusive multilateralism.” This concept, which refers to the participation of non-nation states in multilateral institutions and processes, narrows the gap between the high-level authorities handing down policy decisions and the communities on the ground who are expected to make them come to life. It has allowed for civil society, nongovernmental organizations, the private sector, and other stakeholders to have a formal role in the most critical multilateral governance structures in the world, from international security to climate change bodies. It also creates a critical set of checks and balances, ensuring that special interests or anti-democratic actors, influencing national governments and elected leaders, do not have outsized sway in international decision-making by having representation of sectors outside of national politics.

In health, for instance, the Global Fund to Fight AIDS, TB, and malaria, among others, have since inception had official civil society and private sector representation on its governing board and country coordinating bodies.

There is a growing appetite for cities to have such a formal leadership role, not only to share local experiences, best practices, innovations, and data, but also to build collaborations for emergencies. In remarks made during an event honoring the United Nations’ 75th Anniversary in 2020, Secretary General António Guterres specifically called out the need to draw on the “critical contributions” of cities and regional governments. Similarly, the 2017 Partnership for Healthy Cities launch stated that “city leaders are uniquely positioned to drive policies and programs to help transform public health. And a recent McKinsey report suggests sizable potential impact through a global focus on city-level work, not just for pandemic preparedness, but for overall health. They estimate that influenceable interventions at the city level could add more than 20 billion years of higher-quality life at a global level, while offering a critical opportunity to address health disparities and inequities, an important underlying driver of differential outcomes from pandemic disease, let alone chronic health challenges.

Following these leads, it is time national governments and multi-national organizations formalize the role of cities in global health governance and security. One proposal is that relevant multilateral institutions—such as the World Health Organization or World Bank—could establish seats for cities on their Executive Boards or Board Committees. These seats could even have city government representation from both donor and implementer countries. Additionally, each region could add representation for cities on their subcommittees or local oversight bodies, for example U.N. Country Offices or Country Coordinating Mechanisms.

Now, as the global health community gathers this week in Geneva for the World Health Assembly – the annual gathering of the official governing body of the WHO—there is an opportunity ripe for the inclusion of the local jurisdictions who will be at the forefront of the next pandemic. Negotiations on the Pandemic Accord, the global treaty intended to set international standards of preparedness, cooperation, and communication between nations in advance of the next global communicable disease threat, are set to conclude this week. It is essential that real-world lessons and insights from cities are incorporated into this document, to ensure well-meaning agreements translate to real-world action on the ground.

There are already glimmers of hope.

In the last two years, Tedros Ghebreyesus, director-general of the WHO, has invited New York City to attend the annual World Health Assembly, the official decision-making body for the WHO and the International Health Regulations. That inclusion has allowed us to share our hard-won experience with WHO and other officials, in regard to the forthcoming Pandemic accord, including our insights on building stockpiles of PPE, mobilizing the health workforce and managing health facility capacity, ramping up testing through public-private partnerships with commercial laboratories, building a rapid and locally-driven vaccination effort, and ensuring that equity and place-based work is incorporated at the start of a response, rather than in subsequent phases. And in return, we learned first-hand about many of the challenges faced by nations across the globe in pandemic response and disease surveillance, especially in light of a changing climate and critical health workforce shortages, and have incorporated learnings about the WHO’s data sharing capacities and early warning and advanced surveillance systems, into improving our own population health data system.

New York City’s presence at the World Health Assembly has also given us an opportunity to demonstrate our front-line expertise and innovation in mental health, urban preparedness, climate change adaption, data modernization, and emerging health issues related to the global migrant crisis, among other issues.

Designing formal mechanisms to include cities in deliberations of global scale will allow each of us to not only sound the alarm earlier, but also to better respond to emerging public health threats lurking in our streets and sewers. By ensuring that cities have a meaningful seat at the table in our global health governance models, we will be charting a better course for the world to respond to forthcoming crises.

[absolutebl]

All BLs from 2023

that I tracked, may not be exhaustive for some regions. Only BLs that ended in 2023 are included in this list.

LAYOUT: Title - sub/alt title - rating/10 - where to find it (with a US IP, if on multiples channels only one listed)

China & Hong Kong

Stay With Me AKA Addicted + fuck you fans - dnf - grey

Stay Still - 7 - YouTube

Japan

Blue Sky Complex - cnf - ?

Can I Buy Your Love From A Vending Machine AKA Sono Koi, Jihanki de Kaemasu ka? - cnf - ?

Candy Color Paradox  AKA Ameiro Paradox - 8 - Gaga

Egoist - dnf - ?

I Cannot Reach You AKA I Can't Reach You AKA Kimi ni wa Todokanai - 10 - Net

If It’s With You AKA Even If I Fall In Love With You AKA  Kimi to nara Koi wo Shite Mite mo’ - 7 - Gaga

Jack o'Frost - 5 - Gaga

Let's Eat Together Aki and Haru AKA Aki wa Haru to Gohan wo Tabetai - 6 - Gaga

Minato's Laundromat Season 2 AKA Minato Shouji Coin Laundry Season 2 - 6 - Gaga

My Beautiful Man 2 AKA  Utsukushii Kare Season 2 - 8 - Viki

My Beautiful Man: Eternal AKA  Utsukushii Kare Eternal - 8 - Viki

My Personal Weatherman AKA  Taikan Yoho - 9 - Gaga

Naked Dinner AKA Zenra Meshi - 7 - Gaga

One Room Angel - dnf - Gaga

Our Dining Table AKA  Bokura no Shokutaku - 9 - Gaga

The End Of The World, With You AKA  Bokura no Micro na Shuumatsu - 6 - Gaga

Tokyo in April is AKA Shigatsu no Tokyo wa - 8 - Viki

What Did You Eat Yesterday Season 2 AKA  Kinou Nani Tabeta? Season 2 - 100 - Gaga

Korea

A Breeze of Love - 8 - iQIYI

A Shoulder to Cry On AKA Comfort the Boy - 4 - Viki

All the Liquors AKA  - Liquor - 8 - Viki

Behind the Shadows - cnf - ?

Bump Up Business - 6 - Gaga

Happy Merry Ending  - 8 - Viki

Individual Circumstances - 7 - Viki

Jun and Jun - Jun & Jun - 9 - viki

Love Class 2 AKA  Love Class Season 2 - 8 - Viki

Love Mate - 8 - Viki

Love Tractor - 9 - iQIYI

Our Dating Sim - 10 - Viki

Our Winter - 5 - YouTube

Sing My Crush AKA  Follow The Wind - 8 - iQIYI

Star Struck AKA Starstruck - 6 - iQIYI

The Director Who Buys Me Dinner - 6 - iQIYI

The Eighth Sense - 9 - Viki

The New Employee AKA The New Recruit AKA Shinib Sawo - 9 - Viki

Unintentional Love Story - 9 - iQIYI

Why R U? - (Korean adaptation of Thai original) - 8 - iQIYI

Myanmar

The Love Ring - dnf - YouTube

The Philippines

Ever After - dnf - YouTube

My Story  - dnf - YouTube

Our Story - dnf - Oxin Films

Stay - dnf - YouTube

The Day I Loved You - dnf - YouTube

Tie The Not AKA Under the Same Sky - 7 - Prime

Singapore

Pure Vanilla - Singapore - 7 - Gaga

Taiwan

HIStory5: Love In The Future (HIStory 5) - 7 - Viki

Kiseki: Dear to Me - (formerly Miracle)  - 9 - Gaga

My Tooth Your Love - 8 - Viki

Stay By My Side - 8 - Viki

You Are Mine - 7 - Gaga

Thailand

609 Bedtime Story - (OhmFluke) - 6 - WeTV

7 Days Before Valentine - cnf - One31

A Boss and a Babe - (ForceBook) - 7 - YouTube

Absolute Zero - 6 - iQIYI

After Sundown AKA Saengrawi - (ZeeNew) - cnf - ?

Bake Me Please - 6 - Gaga

Be Mine Super Star Superstar - (JaFirst) - 6 - Viki

Be My Favorite - AKA You Are My Favorite - 8 - YouTube

Bed Friend - (NetJames) - 8 - YouTube

Between Us - (BounPrem) - 8 - iQIYI

Beyond the Star - dnf - iQIYI

Boyband the series - 3 - grey

Cafe In Love - 3 - grey

Chains of Heart - 3 - iQIYI

Cherry Magic (Thai remake) - (TayNew) - cnf - YouTube

Chiang Mai Adventures - 100 - subscribers only

Colorful Melody - cnf - WeTV

Crazy Handsome Rich - dnf - Gaga

Cutie Pie 2 You special - (ZeeNuNew TutorYim MaxNat) - 7 - YouTube

Dangerous Romance - (PerthChimon) - 8 - YouTube

Dear Kitakyushu - cnf - ?

Destiny Seeker - (EarthBank) - 8 - WeTV

Dinosaur Love - Buddy Line Y Animal AKA Buddy Line Y(aoi) Animal - dnf - iQIYI

Friend. Boy Friend - cnf - ?

Future the series - 7 - YouTube

Hidden Agenda - (JoongDunk) - 8 - YouTube

Hit Bite Love AKA  - Hit Bite Lick - 3 - YouTube

House of Stars - dnf - iQIYI

I Feel You Linger in the Air - 9 - grey

I Will Knock You - 5 - Gaga

La Pluie - 9 - Viki

Laws of Attraction - 9 - iQIYI

Love in Translation - 6 - iQIYI

Love Syndrome III   - characters from Unforgotten Night - 100 - WeTV

Low Frequency - 6 - iQIYI

Make a Wish - 8 - grey

Man Suang - (MileApo) - cnf - ?

Middleman’s Love - (TutorYim) - 6 - iQIYI

Moments Of Love - cnf - ?

Moonlight Chicken - (EarthMix) - 8 - YouTube

My Biker - cnf - ?

My Blessing - 2 - YouTube

My Dear Gangster Oppa - 8 - iQIYI

My School President - (GeminiFourth) - 9 - YouTube

My Universe - Casanova Begins - 2 - iQIYI

My Universe - Fake Love - 4 - iQIYI

My Universe - Pisces of Me - 4 - iQIYI

My Universe - The Camp Fire - 5 - iQIYI

My Universe - Marry Go Round  - 5 - iQIYI

My Universe - Right Time, Right You - 5 - iQIYI

My Universe - You Are My Soulmate - 6 - iQIYI

My Universe - Lucky Love - 7 - iQIYI

Naughty Babe  - (MaxNat) - 8 - iQIYI

Never Let Me Go - (PondPhuwin) - 8 - YouTube

Night Dream - dnf - YouTube

Only Friends - (ForceBook) - 3 - YouTube

Our Skyy 2: A Boss and a Babe - (ForceBook) - 6 - YouTube

Our Skyy 2: A Tale of Thousand Stars - (EarthMix) - 8 - YouTube

Our Skyy 2: Bad Buddy - (OhmNanon) - 8 - YouTube

Our Skyy 2: My School President - (GeminiFourth) - 8 - YouTube

Our Skyy 2: Never Let Me Go - (PondPhuwin) - 8 - YouTube

Our Skyy 2: Star in My Mind - (JoonDunk) - 8 - YouTube

Our Skyy 2: The Eclipse - (FirstKhao) - 8 - YouTube

Our Skyy 2: Vice Versa - (JimmySea) - 6 - YouTube

Pastsenger AKA - Past-senger  - 4 - Gaga

Remember Me - (JaFirst) - 5 - Gaga

Senior Love Me - 3 - YouTube

SHADOW - dnf - x

Step By Step - 9 - Gaga

The Luminous Solution - 3 - Gaga

The Promise - 4 - YouTube

The Whisperer - cnf - ?

Till the World Ends - dnf - grey

Tin Tem Jai  - 5 - Gaga

Tin Tem Jai special - 4 - YouTube

Venus in the Sky  - 5 - iQIYI

Wedding Plan - 7 - YouTube

Vietnam

Love Bill  - source title: - LỜI HỨA MÙA HẠ - dnf - YouTube

Mr Cinderella 2 - dnf - YouTube

Stormy Honeymoon - dnf - YouTube

Stupid Genius - 7 - YouTube

The Star Always Follow You - Lấp Lánh Tựa Ánh Sao Trời - dnf - YouTube

Vian the series - (Bah Vinh) - 4 - YouTube

cnf = could not find

dnf = did not finish

requested by @guzhu-furen

[solradguy]

Still one dlc char to be announced in 2023, when do you think it'll happen?

According to the timestamp on this ask, you sent this like literal hours before the new Developer Backyard dropped and answered your question haha December!

Link to the post: https://www.guiltygear.com/ggst/en/news/post-2013/

Relevant text from the DB:

The next update is coming up in December 2023. In addition to a new character, this update will introduce the second round of new special moves, this time for 2 characters. There's also a small-scale balance update in store, focused on adjustments to the new mechanics Wild Assault and Deflect Shield. This will include the aforementioned changes to input options for some characters' new moves such as Giovanna's Chave as well as fixes for issues.

In the Q&A section they teased the possibility of a future artbook that collects all the works between Xrd to now. Fingers crossed it happens!!

The other Q&A responses said that they would consider putting in a way to toggle things like Jack-O's mask and Sin's eyepatch (?!) like how you can toggle Johnny's beard or between the two Asukas, though they said they can't promise anything. They also said that they would like to hold a character palette contest OR survey some day and that they're looking into refining the input for Deflect Shield

The upcoming qualifier tournaments for Arc World Tour are: FIGHTERS SPIRIT (November 18 to 19) in Korea; Battle Coliseum (November 24 to 26) in Brazil; Ultimate Fighting Arena (November 24 to 26) in France; Frosty Faustings (January 25 to 28) in the USA.

So far they've only done big character announcements at events either in the USA or Japan so I'm not sure they'll announce who's next at any of these. There might be another big event going on that I don't know about though. Guess we'll find out soon!!

They also covered the survey results in this entry, which are always interesting. These results stretch this post a bit so I'm gonna slip them behind a readmore.

Lots of young players!! No wonder I get Dadguy'd on here so much lol

Bridget is also the current most favorite character globally, followed by Sol and then Ramlethal in 3rd:

Regional favorite character poll for just Strive's cast. These votes were limited to just one character and the DB entry suggests they may allow two votes for this part in future polls:

I've posted this one on here before when it was shown at Tokyo Game Show earlier this year, but here's the overall favorite character rankings by region. A.B.A., Elphelt, Slayer, and Dizzy are the highest:

[tokyowalking]

Higashiyamato City Japan 🇯🇵

東大和市　東京🇯🇵

Higashiyamato City is a city located in the northern part of the Tama region of Tokyo. It was incorporated as a city in 1970 and has a population of 85,230 as of July 1, 2023.

Higashiyamato City is a comfortable city where nature and the city are in harmony. The rich nature of Tama Hills remains in the city, and you can enjoy the chirping of wild birds and seasonal flowers. Additionally, four lines, the JR Chuo Line, Seibu Tamako Line, Seibu Kokubunji Line, and JR Musashino Line, are in service, providing good access to the city center.

Higashiyamato City is a city that also puts effort into childcare support. The city is well-equipped with child-rearing support centers, children's centers, nursery schools, kindergartens, and other facilities, providing an environment conducive to raising children.

Higashiyamato City is also known as a city that respects diversity. The city has facilities such as the Multicultural Exchange Center and the International Exchange Hall, and many foreign residents live here.

Higashiyamato City is an easy-to-live-in city rich in nature, and it is also a city that focuses on child-rearing support and multicultural exchange.