#tomohiro shibuya

[samusique-concrete]

some thoughts on dark souls 2

well, here we are. a while ago i posted some thoughts on dark souls 3, which i now will update by saying it ended up becoming one of my favorite games ever, period. more than ds1 and elden ring i think (?). beat it multiple times, had a lot of fun fighting bosses in different ways, had fun with people online, been on the grind for getting all the achievements, been looking into installing the randomizer mod, etc. it's thanks to the buttery smooth UX ds3 provides that i got to enjoy my time with it so much. i cannot say the same for ds2.

not to reignite an age old debate but i don't think ds2 is really all that good... or at the very least i think the stuff it gets 'wrong' ends up overshadowing the stuff it really does get right. if you like the game that's fine obviously, i can see the appeal and i'm not here to say "DARK SOULS 2 SUCKS!" or anything. i'll list some stuff i liked and some i didn't so you can see where i'm coming from:

(SOME) STUFF I DIDN'T LIKE:

the ADP/AGL stats. i can't fathom why they thought it was a good idea to tie your i-frames to a stat. ds1 got this right the first time. this is genuinely beyond me.

movement/animations. ds1 could at times feel like a weird take on turn based combat in real time. it worked. ds2 just feels sluggish, on top of not being super responsive. you can be locked on but if you roll and attack your attack is stuck to the direction where you roll and you completely whiff. was ds1 vanilla also like this? i only played the remastered and it's, you know, how it should be. also where are the i-frames for going through a fog door or opening a chest??

the healing system. why did they feel the need to split them into flasks and gems? i certainly never felt the need to have two different healing items, except for the only sometimes useful feature that you can use gems while still moving. didn't see much use in the fact that one heals you slightly faster than the other. if anything having to manage two separate resources, one finite and the other not, was a bit annoying. ds3 went on to improve on this with only flasks; there were more of them and you could move while drinking them.

the menu. a bit finicky to traverse. more on this later.

the hitboxes. jfc. on top of being horrible there's very little feedback for when you're being hit. you just see your health bar decrease seemingly out of nowhere sometimes.

the enemy encounters... are actually fine for the most part. in some sections it's actually hilarious, in a good way (enemies blasting through locked doors? the constant invasions? the forlorn coming to get you if you die a lot, or the pursuer randomly popping in? actually funny stuff). it just got really annoying to deal with them at times for the other reasons listed above, plus also having to deal with some of the most baffling level design in the series.

the level design. the gulch? the undead crypt? good god.

the bosses. they're ok-ish for the most part, though most of them aren't very memorable and it's not really super engaging to fight them because of the combat mechanics. the dudes in armor are tight though and i wish there were even more.

the npc dialogue. these people just never stop their yammering do they. probably the single funniest player message i've ever seen in one of these games was just next to the last bonfire where aldia talks to you. the message just said "right, right". i laughed out loud for a solid while.

(SOME) STUFF I DID LIKE:

the story & themes. i think this is the most realized 'vision' of a plot in a dark souls base game. it's really interesting and it actually makes you care about some stuff, and it also makes you feel a certain way about the world design, which is nonsensical in a cool way. i get that in order to get some of this across they had to write more dialogue but at least you can mash A through that (at the risk of missing something relevant).

the human effigies. a step up from the humanity system from ds1, that would ultimately end up getting revised to perfection in ds3 with the embers.

the graphics. obviously this came out some years after ds1, but for a game that still released on the same console generation as its predecessor, it's a bit wild how much more they could get out of the systems at the time. also the art design in some areas are in my opinion a big step up (thinking of heide's tower of flame, the walk up to drangleic castle, the dragon aerie and other random hallways where the lighting got used in striking ways) and that also helps. (i don't wanna let ds1 off the hook here just for being 'the first one' though; by 2011 the industry already knew what they were doing, and fromsoftware had already released demon's souls prior to it. it is a bit crazy that a game from 2011 looks and feels like that but i say that with a lot of love).

the menu. they figured out a way to make you visualize your character while at the same time trying different armor pieces on (with your character even taking a slightly different stance while the menu was open, as if they were posing), and then they went back on that for ds3. a shame.

majula. obviously the coziest hub.

bonfire ascetics. really, really cool item that i'm baffled doesn't exist in some other shape or form in subsequent titles. i get that they could be used to farm to get an obscene amount of souls but it'd be really cool to have the oportunity to re-fight bosses in other souls games without having to beat the game and getting up to a certain point again. maybe like halve the souls they give out so it's clear that they're there as an optional challenge instead of a farming item, idk.

the atmosphere. atmittedly it's very different from ds1, but it's still... something. there's something to it. i consider ds1's atmosphere and general vibe so well realized that i see it as sort of unsurpassable. this is probably the thing i'd criticize the most about ds3: in that game the atmosphere is really austere for some portions of the experience, though it obviously makes up for it in other ways.

the memories. idk they weren't great and a they're a bit obtuse as a progression gate but still a neat idea. the whole 'action set piece' vibe does clash tonally a bit with what i associate with souls titles but it would've been interesting to see that idea fleshed out in a sequel.

all in all, it wasn't all bad. it was just really frustrating trying to meet the game halfway sometimes when ds1 had already figured out ways to impart something onto you even through all of its friction. i know miyazaki wasn't the one directing this one etc etc but it really does feel like a completely different studio made it. like it was the first 'soulslike'.

echoing my post on dark souls 3, i will now close this one out with a few screenshots.

i realize i've now written about dark souls 3 and dark souls 2, in that order. i guess i'll eventually write something similar, though different, about dark souls 1.

[unnounblr]

My understanding is that he directed it about as much as Tomohiro Shibuya directed Dark Souls 2. Only without the getting fired and possibly dying part. He created some of the original concepts and ideas and plans.

When Miyazaki was working on Armored Core 6, Coral was probably still called Melange.

I wonder how many Fromsoft fans are aware that Miyazaki didn't actually direct Armored Core 6.

Poor Masaru Yamamura gettin' no recognition.

[fumb-ducker]

I’ve been having some thoughts about Dark Souls 2 lately that I haven’t really cared to investigate very deeply, but they are as follows.

Considering Dark Souls somewhat emulates Hidetaka Miyazaki’s experiences of reading English language spaghetti westerns while not yet being fluent in the English language, Dark Souls 2 does an excellent job of putting you in the position of filling in the gaps of the story by placing a degenerative curse upon the player character where they’re bound to lose their mind on the journey to lift the curse. So knowing next to nothing and having to fill in the gaps for yourself is very consistent with the original sensation, despite, as I understand it, Miyazaki being primarily involved on Bloodborne’s development during this time and Tomohiro Shibuya and Yui Tanimura directing the games direction.

Also factoring in the Soul Memory mechanic, which determines your multiplayer accessibility, it makes the game harder if invaded… if have the misfortune of dying frequently. (“git gud.”) And making the game harder seems like a point of pride for FromSoft. (I also heard it makes PvE enemies stronger too, but I haven’t actually found any evidence of that.)

In my experience, more people tend to have more negative impressions of Dark Souls 2 and I can’t really discern why that is. But the points outlined suggest to me that it’s… more dark souls than Dark Souls, and that’s, like, what you’d want from a sequel? Does this make any sense? Any one have two cents to offer?

[nightcoremoon]

Dark Souls 2 may not be the favored game of the Dark Souls fandom but it sure is the best King’s Field game that From ever made. People seem to forget that Miyazaki was only responsible for Demon’s Souls and on, and From has been making Brutally Difficult Exploration-Based Action-RPGs since the ps1 era. Fromsoft B Team? Please. Miyazaki IS the B Team. If Armored Core wasn’t a mech based series then I can guarantee you that Bamco Namdai would have forced Fires Of Rubicon to be Mech Souls, just like they completely ruined Tomohiro Shibuya’s vision for the game and forced Yui Tanimura to go OH SHIT and slap everything together in as feasibly cohesive a whole as he possibly could. So I’d like to see you try to make a game that big, that expansive, that polished, and that fun, in less time than Obsidian had to make Fallout New Vegas. It is as good as it possibly could have been given the circumstances, and every bad aspect has perfectly reasonable and rational explanations behind it. And most importantly of all the game runs beautifully. DS1 and 3 run like utter garbage. They are objectively bad pieces of software especially as far as the net code is concerned. I am beyond sick and tired of hearing people herald those games as impeccable untouchable works of art, when the opposite is true. Dark Souls 1 is an unpolished hunk of junk with very good everything except for the actual gameplay, and Dark Souls 3 is a very polished hunk of junk with very good everything except for balance, pacing, freedom, plot, build variety, physics engine, level geometry, need I go ON?

Dark Souls 2 ain’t perfect but it’s still one of the greatest games ever made of all time period

[theclubhero-blog]

Próximos jogos da FromSoftware podem ter “novos diretores”, diz Hidetaka Miyazaki

Por Vinicius Torres Oliveira

Hidetaka Miyazaki afirma que a possibilidade é "alta" de haver novos diretores nos jogos da empresa

Grandes obras da FromSoftware tiveram a assinatura e direção de Hidetaka Miyazaki como destaque e se sobressaíram na indústria de games nos últimos anos. Em time que está ganhando não se mexe, mas o criador japonês entende ter outras mentes criativas dentro do estúdio para tocar os futuros projetos em breve.

Em entrevista à IGN, Miyazaki deixou claro que essa movimentação pode acontecer e a possibilidade é alta. Confira a fala dele abaixo:

Há uma alta possibilidade de que deleguemos a responsabilidade de direção para outros jogos no estilo Souls no futuro. Sim, acredito que seja muito provável que tenhamos novos diretores daqui para frente. E, se fizermos isso, gostaria de me afastar desse papel de supervisão e conceder a eles total direção e controle sobre esses projetos. Acredito que realmente esta seja a melhor maneira e a forma mais fácil para que eles prosperem dentro desse ambiente e com esses novos projetos.

Vale ressaltar que um dos grandes sucessos da FromSoftware não entra nessa lista de games dirigidos por Hidetaka Miyazaki. Dark Souls 2, que serviu como base para o gameplay de Elden Ring, foi dirigido por Tomohiro Shibuya e Yui Tanimura.

[howwelldoyouknowyourmoon]

The building in Tokyo's Shibuya Ward, newly learned to be under Unification Church ownership, is seen on Nov. 11, 2023. (Mainichi/Tatsuro Ando)

November 13, 2023 (Mainichi Japan)

TOKYO -- The Unification Church's ownership of a property worth millions of dollars in Tokyo's Shibuya Ward has come to light through research by the Mainichi Shimbun. • This makes for 100 real estate properties owned by the former Unification Church, formally known as the Family Federation for World Peace and Unification, in Japan pinpointed through Mainichi Shimbun surveys. Leaving aside one property for which ownership rights are complicated, the estimated total value of the organization's land assets now stands at 9.27 billion yen (roughly $61.13 million). Among 296 facilities including churches listed on the organization's website as of August, at least 99 plots of land and 91 buildings were already known to be church assets. However, the building in Shibuya was unlisted, raising the possibility of other yet unknown church assets.

The steel-framed, three-story building in Shibuya is across a lane from the church's Japan headquarters in the Shoto district, now regarded as one of Tokyo's leading upper-class residential areas, where a branch of the Tokugawa clan resided in the Edo period (1603-1867). The building is near the landmark Shibuya 109 shopping center and a roughly 15-minute walk from JR Shibuya Station.

The Unification Church's third-most-expensive property According to public real estate register information, the property was built in 1995. At the time, it was owned by a publisher related to the church, Kogensha Co. The building was sold in 2014, with land ownership transferred from the company to the church in lieu of debt payments.

The property's area is 345 square meters. Assessed using the same method as the other 99 properties, its value is an estimated 547 million yen (approx. $3.61 million). This ranks it third after the church's headquarters at 841 million yen (roughly $5.55 million) and a plot of land set aside for a training facility in the Tokyo suburban city of Tama at 677 million yen (some $4.46 million).

The possibility of church assets being transferred overseas was pointed out following the government's request for the court to order the organization to dissolve. However, the extent of church assets has not been publicly disclosed.

Tomohiro Tanaka, president of the church's Japanese branch, said at a Nov. 7 press conference, "We aren't considering going as far as selling our properties. Most are churches. If churches were sold, believers would have nowhere to gather, and there would be nowhere to conduct religious events. Thus, letting go of our properties is out of the question."

(Japanese original by Tatsuro Ando, Digital News Group)

__________________________

A top [Japan UC] official in charge of reforms, Hideyuki Teshigawara, acknowledged that some church followers have traveled to South Korea to make donations there instead, but that details were not known.

__________________________

Moon owned shares in Central City sold for $925 million dollars

Yongpyong Resort, covering 4,300 acres, is owned by the Moons

Property Facts: Yongpyong Resort Condominiums sold

Another Moon owned golf course – part of Ocean Resort, Yeosu

Beaché Palace is owned by the Moons. Who paid for it?

[tinysamm]

Upon death in Dark Souls II, the player loses a portion of their total life bar, which reduces the upper limit of how much they can heal until they’ve reversed these effects. In addition to providing a much longer lasting penalty for death, this is also meant to push the player to learn to do more with less. When fewer mistakes can be accepted, the player must learn to play without being killed while at their weakest. 

[nofatclips]

The Bamboo Princess (jap. Kaguya hime) by Wednesday Campanella (jap. Suiyoubi no Campanella) from the album Galapagos - Director：Keneto Yamada - hats off @matchmakingdove1028

[loopdrive]

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明日重工コンピ12頒布開始です。よろしくおねがいします。 【Release Info.】 秋葉原重工コンピレーション12 - AHI COMPILATION 12 - 2019/12/31 (Tue.) Release in ComicMarket 97 Day4 西F-17a Booth 2CD - DirectAudio EVENT: 2000JPY SHOPS: 2666JPY + tax . - tracklist - DISC1 Tr.01 TAKAMI - AH RAVE FACTORY(ARF) Tr.02 bassmicrobe - under the influence Tr.03 Takayuki Kamiya - Fragment Smack Tr.04 HIROSHI WATANABE aka Kaito - CYGNUS (Kouki Izumi Remix 2020 Version) Tr.05 Homma Honganji & ATT - Binder Tr.06 polygon prompt - duro lavoro Tr.07 Atomic - fo line Tr.08 tetsuya tamura - Seven Bars Tr.09 Hiroyuki Arakawa - enter higher DISC2 Tr.01 HIROSHI WATANABE - Live The Life (909state Remix) Tr.02 bitscape - cortex (Dry matter Remix) Tr.03 HIROSHI WATANABE - High Definition Memories (Reqterdrumer Remix) Tr.04 REBUSTAPE NoiseElectronicDivision - MetaStroke Tr.05 wat - Blurring The Borderline Tr.06 Lyoma - Krimson Tr.07 909state - Architect1 (Yebisu303 Remix) Tr.08 HIROSHI WATANABE - Live The Life (Tomohiro Nakamura Remix) Compose: 909state [ AcidWorx / DESTRUCTION BABY ] Atomic [ Technomy ] ATT [ BUZZ×3 / GLAMOROUS ] bassmicrobe [ commune310 ] bitscape [ flow and stagnation ] HIROSHI WATANABE [ Transmat / Kompakt ] Hiroyuki Arakawa [ SPECTRA / Toolroom / Muller Record ] Homma Honganji [ Adult Records / Tourism / ビッグファイア ] Lyoma [ abend kollektiv ] polygon prompt REBUSTAPE NoiseElectronicDivision TAKAMI [ REBOOT / BUZZ×3 ] Takayuki Kamiya tetsuya tamura wat [ Body Inform ] Remix: 909state [ AcidWorx / DESTRUCTION BABY ] Dry matter [ Delayer ] Kouki Izumi [ 荒御霊 / technoA ] Reqterdrumer [ Blue Arts Music ] Tomohiro Nakamura [ 7th Gate ] Yebisu303 [ Acid Alliance ] Mastering: Hedonist [ Katana Bits ] Jacket Design: clocknote. [ Diverse System / technoA ] Special Thanks: MOGRA (Akihabara) Contact (Shibuya) Comic Market Diverse System flow and stagnation Direction: Atsushi Ohara Takayuki Kamiya . ©2019 Akihabara Heavy Industry Inc. #秋葉原重工 #ahi_jp #technomusic #minimal #909state #atomic #att #bassmicrobe #bitscape #hiroshiwatanabe #hiroyukiarakawa #hommahonganji #lyoma #polygonprompt #rebustapenoiseelectronicdivision #takami #takayukikamiya #tetsuyatamura #wat #loopdrive #drymatter #koukiizumi #reqterdrumer https://www.instagram.com/p/B6swYmgD_X7/?igshid=qv0r6edi8abp

[yukimari]

ミュージカル『刀剣乱舞』/ Musical Touken Ranbu :

Trial Performance / トライアル公演 ( Autumn 2015 )

Atsukashiyama ibun / 阿津賀志山異聞 ( Spring 2016)

Bakumatsu tenrouden /  幕末天狼傳 ( Autumn 2016 )

in Itsukushima Shrine /  in 嚴島神社 ( Autumn 2016 )

Shinken Ranbu Sai  2016 /  真剣乱舞祭 2016 ( Winter 2016 ) 

Mihotose no Komoriuta / 三百年の子守唄  ( Spring 2017 )

Kashuu Kiyomitsu Tanki Shutsujin 2017 (Kashuu Kiyomitsu solo live) / 加州清光 単騎出陣2017 (  Autumn 2017 )

Tsuwamono domo ga yume no ato / ～つはものどもがゆめのあと～ ( Autumn 2017 )

Shinken Ranbu Sai  2017 / 真剣乱舞祭 2017 ( Winter 2017 )

Performance Dates: 

Trial Performance :  17 performance within 10 days, 0 days off

Tokyo : October 30, 2015 - November 8, 2015 

Atsukashiyama ibun  :  40 performance within 22 days, 2 days off

Tokyo: May 27, 2016 - June 12, 2016 

Osaka : June 17, 2016 - June 19, 2016 

Kyoto: June 23, 2016 - June 26, 2016 

Bakumatsu tenrouden  :  65 performance within 39 days, 4 days off

Tokyo: September 24, 2016 - October 10, 2016 

Fukuoka: October 15, 2016 - October 16

Osaka: October 21, 2016 - October 30, 2016 

Tokyo: November 17, 2016 - November 27, 2016 

Shanghai: January 13, 2017 - January 15, 2017

in Itsukushima Shrine  : 2 performance within 1 day 

November 12, 2016

Shinken Ranbu Sai  2016 : 6 performance

Osaka : December 13, 2016 

Tokyo : December 20, 2016 - December 21, 2016 

Mihotose no Komoriuta :  65 performance within 40 days, 5 days off

Tokyo: March 4, 2017 - March 26, 2017 

Osaka : April 1, 2017- April 9, 2017

Tokyo: April 14, 2017 - April 23, 2017 

Zhuhai : May 19, 2017 - May 21, 2017 

Kashuu Kiyomitsu Tanki Shutsujin 2017 : 16 performance within 10 days, 1 day off

Tokyo: October 5, 2017 - October 15, 2017

Tsuwamono domo ga yume no ato :  36 performance within 24 days, 2 days off

Tokyo: November 4, 2017 - November 12, 2017 

Kyoto: November 17, 2017  - November 19, 2017 

Tokyo: January 6, 2018 - January 14, 2018 

Osaka: January 26, 2018 - January 30, 2018

Shinken Ranbu Sai  2017 : 11 performance 

Tokyo : December 8, 2017 - December 9, 2017 

Osaka : December 12, 2017 - December 13, 2017 

Saitama: December 19, 2017 - December 20, 2017 

Guangzhou : December 23, 2017 - December 24, 2017

Place used:

Tokyo:

AiiA 2.5 Theater Tokyo : Trial Performance,  Atsukashiyama ibun,  Bakumatsu tenrouden, Mihotose no Komoriuta, 

Ryougoku Kokugikan : Shinken Ranbu Sai 2016

Tennouzu Ginga Gekijou - The Galaxy Theatre:  Kashuu Kiyomitsu Tanki Shutsujin 2017

Nippon Budokan : Shinken Ranbu Sai 2017

Tokyo Dome City Hall :   Tsuwamono domo ga yume no ato

Nippon Seinenkan Hall :  Tsuwamono domo ga yume no ato  

Osaka:

Morinomiya Piloti Hall :  Atsukashiyama ibun, Bakumatsu tenrouden 

Sankei Hall Breeze:  Bakumatsu tenrouden 

Osakajo Hall : Shinken Ranbu Sai 2016 , Shinken Ranbu Sai 2017

Umeda Arts Theater: Mihotose no Komoriuta,  Tsuwamono domo ga yume no ato

Kyoto: 

Kyoto Gekijo:  Atsukashiyama ibun,  Tsuwamono domo ga yume no ato

Fukuoka: 

Fukuoka Canal City theater:  Bakumatsu tenrouden

Saitama:

Saitama Super Arena: Shinken Ranbu Sai 2017

China: 

Shanghai Hongqiao Culture Artistic Center:  Bakumatsu tenrouden

Zhuhai Grand Theatre : Mihotose no Komoriuta

Guangzhou Stadium: Shinken Ranbu Sai 2017

Touken Danshi Actors: 

Kuroba Mario ( 黒羽麻璃央 ) as Mikazuki Munechika

Kitazono Ryo ( 北園涼 ) as Kogitsunemaru

Sakiyama Tsubasa ( 崎山つばさ) as Ishikirimaru

Saeki Daichi ( 佐伯大地 ) as Iwatooshi

Ohira Shunya ( 大平峻也 ) as Imanotsurugi

Sato Ryuji ( 佐藤流司 ) as Kashuu Kiyomitsu

Torigoe Yuuki ( 鳥越裕貴‏ ) as Yamatonokami Yasusada

Arisawa Shoutarou ( 有澤樟太郎‏ ) as Izuminokami Kanesada

Ogoe Yuuki ( 小越勇輝‏ ) as Horikawa Kunihiro

Takahashi Kensuke ( 高橋健介 ) as Hachisuka Kotetsu

Imari Yuu ( 伊万里有 ) as Nagasone Kotetsu

Araki Hirofumi ( 荒木宏文 ) as Nikkari Aoe

Ota Motohiro ( 太田基裕 ) as Sengo Muramasa

Spi as Tonbokiri

Yokota Ryugi ( 横田龍儀 ) as Monoyoshi Sadamune

Zaiki Takuma ( 財木琢磨 ) as Ookurikara

Miura Hiroki ( ��浦宏規 ) as Higekiri

Takano Akira ( 高野洸‏ ) as Hizamaru

Human Team Actors:

Atsukashiyama ibun / Trial Performance :

Tanaka Shigemi (田中しげ美) as Musashibou Benkei   

Araki Kentarou (荒木健太朗) as Minamoto no Yoshitsune  

Okuno Masaaki (奥野正明)  as Minamoto no Yoritomo 

Kako Lion (加古臨王) as Fujiwara no Yasuhira 

Bakumatsu tenrouden :

Goumoto Naoya (郷本直也) as Kondou Isami 

Takagi Tomohiro (高木トモユキ) as Hijikata Toshizou 

Tochihara Rakuto (栩原楽人) as Okita Souji  

Mihotose no Komoriuta :

Washio Noboru (鷲尾 昇) as Tokugawa Ieyasu 

Ohno Mizuki (大野瑞生) as Matsudaira Nobuyasu

Ayuba Shuri (阿由葉朱凌) / Kojima Yukito (小島幸士) as Takechiyo (W cast)

Takane Masaki (高根正樹) as Gohei 

Tsuwamono domo ga yume no ato:

Tanaka Shigemi (田中しげ美) as Musashibou Benkei  

Araki Kentarou (荒木健太朗) as Minamoto no Yoshitsune  

Tomita Masanori (冨田昌則)  as Minamoto no Yoritomo

Kako Lion (加古臨王) as Fujiwara no Yasuhira

Touken Danshi Appearance:

Atsukashiyama ibun / Trial Performance : 

Mikazuki Munechika

Kogitsunemaru

Ishikirimaru

Iwatooshi

Imanotsurugi

Kashuu Kiyomitsu

Bakumatsu tenrouden :

Kashuu Kiyomitsu 

Yamatonokami Yasusada

Izuminokami Kanesada

Horikawa Kunihiro

Hachisuka Kotetsu

Nagasone Kotetsu

in Itsukushima Shrine :

Mikazuki Munechika

Kogitsunemaru

Ishikirimaru

Iwatooshi

Imanotsurugi

Kashuu Kiyomitsu

Yamatonokami Yasusada

Izuminokami Kanesada

Horikawa Kunihiro

Hachisuka Kotetsu

Nagasone Kotetsu

Shinken Ranbu Sai  2016 :

Mikazuki Munechika

Kogitsunemaru

Ishikirimaru

Iwatooshi

Imanotsurugi

Kashuu Kiyomitsu

Yamatonokami Yasusada

Izuminokami Kanesada

Horikawa Kunihiro

Hachisuka Kotetsu

Nagasone Kotetsu

Mihotose no Komoriuta :

Ishikirimaru

Nikkari Aoe

Sengo Muramasa

Tonbokiri

Monoyoshi Sadamune

Ookurikara

Tsuwamono domo ga yume no ato :

Mikazuki Munechika

Kogitsunemaru

Iwatooshi 

Imanotsurugi

Higekiri

Hizamaru

Shinken Ranbu Sai 2017 :

Mikazuki Munechika

Kogitsunemaru

Ishikirimaru

Iwatooshi

Imanotsurugi

Kashuu Kiyomitsu

Izuminokami Kanesada

Hachisuka Kotetsu

Nagasone Kotetsu

Nikkari Aoe

Sengo Muramasa

Tonbokiri

Monoyoshi Sadamune

Ookurikara

Higekiri

Hizamaru

Other:

NHK’s Shibuya Note:

(September 4, 2016) Team Sanjou with Kashuu Kiyomitsu

(July 2, 2017) Team Shinsengumi with Hachisuka Kotetsu (without Horikawa Kunihiro, Nagasone Kotetsu)

 (September 30, 2017) Formation of Mihotose

INDIA GAMING SHOW:

(February 4, 2017 - February 5, 2017)  Team Shinsengumi with Hachisuka Kotetsu

Japan Expo Paris 2017:

(July 7, 2017 - July 8, 2017)  Team Sanjou with Kashuu Kiyomitsu (without Mikazuki Munechika)

Music Videos: 

Team Sanjou with Kashuu Kiyomitsu:  『キミの詩』 / “Kimi no Uta”

Team Shinsengumi with Hachisuka Kotetsu: 『ユメひとつ』/ “Yume Hitotsu”  

Formation of Mihotose: 『勝利の凱歌』 / “Shouri no Gaika”

OFFICIAL SITE :

 Here

[loopdrivemicro]

Tweeted

2019/05/20 (Mon.) 21:00-28:00 秋葉原重工 - Akihabara Heavy Industry Inc. Shibuya Branch #1 @ContactTokyo Contact:TAKAMI, Tomohiro Nakamura, kk, 909state, KURAYAMI, Atsushi Ohara, clocknote., KAZUMiX Folyer:iz, Kouki Izumi, orinetone, Takayuki Kamiya Food:ビリヤニ☆タカシ#ahi_jp https://t.co/eX1GRXbvkC

— 秋葉原重工 (@ahi_inc) May 14, 2019

[njpwdaily]

Yoyogi National Gymnasium, Shibuya, Tokyo (17:00 JST / 4:00 AM EST) *Airing live on NJPW World (with ENG commentary)

MAIN EVENT—BEST OF THE SUPER JUNIORS XXIV FINAL (1f / no time limit) Will Ospreay (CHAOS) (winner of A block) vs. KUSHIDA (Taguchi Japan) (winner of B block)

TAG TEAM MATCH (1f / 30m) Gedo & Kazuchika Okada (CHAOS) vs. Marty Scurll & Kenny Omega (Bullet Club)

TEN-MAN TAG TEAM MATCH (1f / 30m) Dragon Lee, Ricochet, Ryusuke Taguchi, Juice Robinson & Satoshi Kojima (Taguchi Japan) vs. Hiromu Takahashi, BUSHI, EVIL, SANADA & Tetsuya Naito (Los Ingobernables de Japon)

TAG TEAM MATCH (1f / 30m) YOSHI-HASHI & Hirooki Goto (CHAOS) vs. Taichi & Minoru Suzuki (Suzukigun)

EIGHT-MAN TAG TEAM MATCH (1f / 20m) ACH, David Finlay & War Machine [Hanson & Raymond Rowe] vs. Yujiro Takahashi, Bad Luck Fale & Guerrillas of Destiny [Tanga Loa & Tama Tonga] (Bullet Club)

SIX-MAN TAG TEAM MATCH (1f / 20m) Volador Jr. (CMLL), Tiger Mask & Jushin “Thunder” Liger vs. TAKA Michinoku, El Desperado & Yoshinobu Kanemaru (Suzukigun)

SIX-MAN TAG TEAM MATCH (1f / 20m) Hirai Kawato, Hiroyoshi Tenzan & Togi Makabe vs. Jado, Toru Yano & Tomohiro Ishii (CHAOS)

SIX-MAN TAG TEAM MATCH (1f / 20m) Shota Umino, Tomoyuki Oka & Yuji Nagata vs. Tetsuhiro Yagi, Katsuya Kitamura & Manabu Nakanishi

[zkty1006]

The Japanese Short Film "NISHIKAN" /w English Subtitle from DRAWING AND MANUAL on Vimeo.

Do you have a home to remember? Do you have a place that give you warmth? A man who failed finding purpose of his life, and a man who failed taking care of his daughter. And the daughter who left home and got lost her way. In a tiny rural town in Japan, there was a warm encounter. And the long lasting bad feelings between the father and daughter dispelled. A story that lights up the precious relationships and warm up their heart. The short story, “Nishikan”. You will find Japan’s true heart.

Produced by City Of Niigata Nishikan Ward Office city.niigata.lg.jp/nishikan/ Musashino Art University kisode.com

Production DRAWING AND MANUAL drawingandmanual.jp

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Director : Tomohiro Shiiya　Yume Tsukakoshi　Sai Ito

Original Story : Ai Kanegae

Screenplay : Koji Karatsu　Seiichi Hishikawa

Cast : Ryota Kuwahara　Takezumi Nishimura　Ruko　Kazuki Ishikawa　Keisuke Matsubara　Akira Miyakawa　Sachie Miyajima　Sohei Ogura　Kazuo Abe　Kinichiro Eiduka　Hatsumi Adachi　Shizue Mochida　Tomohiro Bando　Takaaki Bando

Special Thanks Maki High School Drama Club

Extra : Katsuzo Ishizoe　Ryoko Ishizoe　Michiko Saito　Miwa Kamimura　Hiroshi Murai　Koichi Goto　Hideo Yoshida　Masafumi Hanyu　Sumii Yoshida　Kikui Takeuchi　Haruichi Kubota

Producer : Kazuo Abe　Makoto Fujii　Katsuhito Ishizuka　Miyuki Sawaguri　Akira Miyakawa　Takuya Watanabe　Katsuyuki Kubota　Takeshi Ishikawa　Kazuki Hoshino

Excutive Producer : Seiichi Hishikawa

Line Producer : Yui Suzuki　Takamasa Katsura

Assistant Director : Nene Sumiyoshi　Momoka Kurajyo

Cinematographer : Kazuo Tsujimoto　Takumi Gunji　Mio Fukuda　CHEN PENG

Live Recording : Takashi Hisamichi

Recording Assistant : Ryunosuke Sasamoto　Nahoko Akiyama

Record : Namiko Osanai

Production Manager : Jyunichi Ichi　Takashi Ueno　Masaki Miyamoto　Masahito Sakaguchi　Takahiro Itabashi

Make Up&Styling : Madoka Takeda　Fumiko Nakahara　Mai Sakamoto　Natsuki Koizumi

Logo Design : Hiroki Kawabe

Trailer Director : Takeru Shibuya

PR : Michiru Muraki (Drill Inc.)

Casting : Reina Washino (Baum and kuchen)

Car Coordination : Takanori Muto　Shouri Hoshi (Wandervogel)

Music : Shinya Kiyokawa

Recording Engineer : Mikihiko Ishibashi　Yukinari Matsumoto (HEACON STUDIO)

Soundtrack : Title Music The Wisely Brothers “Yaoya" album [seaside81] ©2016 LASTRUM Music Entertainment Inc. thewiselybrothers.tumblr.com

Nabowa "collage" "thank you!" album [Nabowa] ©2010 magie/bud music inc./AWDR/LR2/BounDEE, Inc. “Ruderadio" album [DUO] “Suiyoubi-no-umbrella" "You and I" album [Nabowa 4] nabowa.com

Kanami Tazoe “Matane-no-Yakusoku" album [ON] tazoekanami.com

Shinya Kiyokawa "Handkerchief"

Ending Theme Song Minami Honobe “itsumademo"

Music Collaboration : kenbow　Takuma Kawagoe　Risa Satohara　Hiroyuki Himeno

Filming In Cooperation With : KakashiIwamuyoya Hamamatsuya Takarayama Brewery Iwamuro Confectionery Bougainvillea Shugetsu Temple Maki High School Iwamuro Hot Spring Tourism Association Maki Tourism Association Kakudahama Tourism Association MILL Musashino Art University

Special Thanks : Shingo Miyajima　Noritaka Moriguchi　Keiko iino　Ai Natori　Mizue Kawamura　Tatsuniwa Doi���Dairo-kai　Nishikan Wara Art Westival ALL Crew　Musashino Art University Science of Design

Dedicated To Erika Tsukakoshi

[wachxtrist3]

signs as oresama teacher characters

aries: hayasaka

taurus: okegawa kyoutaro , komari yukioka

gemini: tomohiro kawauchi

cancer: aki shibuya

leo: takaomi saeki, kousaka shuntaro

virgo: usa-chan man

libra: ayabe reito

scorpio: wakana hojo

saggitarius:takumi yamashita

capricorn: shinobu yui

aquarius: daikichi goto

pisces:okubo kotobuki

[hrkiportfolio]

Installation, 2015 at wow inc.

“Ray of Formula 1” @Seibu Shibuya

Vimeo

About the Work

The installation of light and sound “Ray of Formula 1”; part of the exhibition “The F1”, was held in March 2015 and WOW was in charge of creating, planning and directing this artwork. This artistic interactive installation uses sound and light to celebrate the passion, the soul and the racing heartbeat of the F1 driver. By using a controller to manipulate light, you too can experience what it’s like to be an F1 driver. By manipulating the trajectory of light, the whole race track appears, and a life-size F1 car races down the main straight at incredible speeds right in front of your eyes.

作品について

西武渋谷で行われた「The F1展」にて、光と音のインスタレーション「Ray of Formula 1」の企画・演出・制作を担当。F1マシンの軌跡を光と音で再現した本作品は、床と壁を縦横無尽に駆け巡る光のインスタレーションで、手元のコントローラーを使って光を操り、時速300kmでサーキットを疾走するF1マシンのスピード感を再現した。光の軌跡がコースの全体像を浮かび上がらせ、コースのメインストレートを光が通過する際には、リアルサイズのF1マシンが目前を駆け抜けていく。

Staff Credit

Creative Director : Yuki Tazaki Visual Art Director : Hiroshi Ouchi Programmer : Seiya Takasawa / Hiroki Sato Sound Design : Tomohiro Nagasaki Producer : Yasuaki Matsui

System : Masato Tsutsui（Arque） Device : Shozo Kuze（MATHRAX LLC.） Equipment : Prism

http://press.w0w.co.jp/wowmag/ja/79/

[tostomo]

Pentax K-3, Illuminated, Tokyo Night, 東京, 渋谷, Shibuya by Tomohiro Sato on EyeEm