#tranquility (hisashi)

[xavathun]

I LOVE TALKING ABOUT MY OCS RAHHHHHH

anyways this post made me realize i have no designated young wolf guardian?? guess i’ll be fixing that soon by creating some new guy

but the oc i have who is The Guardian is quinni. she basically has a problem with separating herself and The Guardian. constantly. when she is just herself she is laid back and sarcastic and loves making shitty puns but she goes silent in battles. it takes a while for her to shake herself out of it sometimes and her ghost merlin has to get her friends for help occasionally. when people call her the guardian she doesn’t move to correct them, it doesn’t feel right to her. she also has a weird thing going on with being a shadow of calus but that’s a whole other story <3

my other guardians have other reasons for being quieter. hisashi doesn’t speak because he’s selectively mute. val and maya are more stoic and simply don’t have a lot of words to say most of the time. lazarus-7 is basically always day dreaming and isn’t paying attention to anything.

Actually you know what. I'm in an oc-loving mood and want to hear about other people's Young Wolves rn and how they intersect with what we get in canon. Do y'all have reasons why your guardians are so quiet in canon/why they prefer to be called by their title rather than their name, or is that something you disreguard entirely as a blank space Bungie left for you to fill in? How do they mesh with canon in that reguard?

(My Young Wolf is named Aeris, and the reason why he prefers to go either by 'guardian' or 'young wolf' is because it sounds so similar to Eris's name. That they're both quiet Hunters with thousand-yard stares and a penchent for researching aliens/creeping people out in the process doen't help the matter, either. Aeris decided to let Eris be the one with 'name rights' mostly because she's his senior, but also partially because he gets a little freaked out by people he doesn't know using his first name simply bc that's a good metric for them being someone he should remember, and if he doesn't know them then oops he fucked up there)

[donkeys-waffles]

Snippet of Chapter 2 for Before Snow Falls

The man stopped his shuffling, pulling a mahogany jewelry box from the drawer. He opened the lid delicately, cautiously. Izuku’s eyebrows scrunched together as Hisashi pulled out a simple silver locket. It was his mother’s favorite; she wore every day during Izuku’s childhood. He remembers how it caught the light, the swirling wisps engraved in the metal reflected in the gleam. She had stopped wearing it a few months ago, locking it back into the box and Izuku had forgotten about it until now. 

 He remembers how he’d always wanted to see what she kept inside it, only ever being answered with a knowing smile. Hisashi raised a large hand to the locket, holding the delicate heart in his hand, he popped the lock open and despite himself Izuku found himself subconsciously leaning forward.  

The door let out a loud hiss that felt deafening in the silence, Izuku cursed himself as Hisashi perked up, closing the locket.  

“It looks like you finally woke up, little one.” Hisashi smiled as he discarded the locket back into the jewelry box.” The boy opened the door the rest of the way, lips set in a shaky line.  

“I-I’m sorry, I didn’t mean to ugh,” Stumbling through his words his cheeks fired up, “D-didn’t mean to w-watch.”  

Hisashi waved him off with a smile, placing the box back into the drawer he turned to face his son, “It’s alright, did you eat breakfast?”  

Izuku shook his head, eyeing the hardwood of his mother’s bedroom floor. Hisashi was quiet for a moment, Izuku looked up, meeting his father’s dark empty stare, and averting his gaze again.  

He sighed, "Well make sure you eat, Izuku.” He padded against the hardwood stopping next to Izuku, the boy felt the man’s hand on his shoulder and glanced up. Hisashi gave him a weak smile, “I can’t lose you too Izuku, you know that right.” He stated simply, and Izuku felt a sudden surge of guilt wrap their hands around his throat, he bit his bottom lip. And wordlessly nodded, Hisashi gave his shoulder a squeeze before retreating to the kitchen, leaving Izuku to stand stiffly in his mother’s old bedroom.  

The light filtered through the sheer curtains, bathing the room in a tranquil glow. Izuku’s feet were locked in the doorway, palms sweaty and he locked his eyes to the dresser. He wanted to turn around, put his back to this room, the room he had been avoiding for weeks now.  

He glanced behind him, into the dark hallway, devoid of much sunlight, only visible from the kitchen lights and the bedroom sunshine. He should turn around, try to stomach that breakfast, and move on with his day. He turned back around to the room, allowing that urge in his chest to lead him towards the dresser. He opened his mother’s dresser, keeping his eye fixed on nothing but the mahogany jewelry box.  

He gingerly set the box on the vanity, taking a quick peek at the empty doorway he fished the locket out from the box. Izuku held the heart delicately in his palm, thumb swiping over the glossy surface  

“Izuku, are you coming?” The boy startled, dropping the locket onto the floor, it skidded across the wooden floors under the vanity and Izuku cursed under his breath.  

“Just a second.” Izuku called back, dropping to the floor to fish it out, his hand swatted under the dresser, feeling around the area for the lost locket. Until his fingers graced something jagged, he paused, feeling around the area and noticing an uneven section of wood. Izuku rapidly retracted his hand and braced his hands to the edge of the dresser, heaving it away from the wall he glanced down.  

A small panel of uneven wood was protruding from the flooring. He bit his lip, maybe it got stuck like that somehow... Or maybe something was hidden underneath.  

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

Work link:

Before Snow Falls. - Chapter 1 - Donkey_Wafflez - 僕のヒーローアカデミア | Boku no Hero Academia | My Hero Academia (Anime & Manga) [Archive of Our Own]

[doumadono]

As I endure the pain from yesterday's surgery, a glimmer of joy finds its way to me upon learning that new manga has arrived at my doorstep 😻 I'm eagerly anticipating my return home! Thank you @arthurbristow for once again picking up the parcel on my behalf! This time, I ordered two one-volume yaoi manga titles: "Heartless" and "Twilight Out of Focus."

"Twilight Out of Focus" centers around Tsuchiya Mao and Otomo Hisashi, who share an apartment. To maintain harmony, they establish three rules: I. Mao must never expose Hisashi's secret (him being gay). II. Hisashi must not view Mao romantically. III. Neither of them should interfere with the other's "personal needs." Their cohabitation goes smoothly until the movie club, of which Mao is a member, decides to create a BL (Boys' Love) film for their school festival project, casting Hisashi as the lead.

"Heartless" tells the story of a captivating "incubus" who seduces humans with his alluring appearance and devours their lives. He shares his existence with Manuel, referred to as his "lover." They live peacefully in the woods until a self-righteous cult, dedicated to eradicating heresy, emerges and disrupts their tranquility.

Both manga titles promise intriguing narratives, exploring themes of romance, secrets, and the complexities of human relationships. I'm excited to delve into these captivating stories 🥺

[ao3feed-erasermic]

Asteria rising

Use the related link post to read Asteria rising on AO3 at https://archiveofourown.org/works/59736268 by KitKatKhaos This started out as just the scene of Katsuki's murder. But the butterflies decided you get more than that. Hope you enjoy! Words: 3945, Chapters: 1/?, Language: English Series: Part 2 of Asteria's story Fandoms: 僕のヒーローアカデミア | Boku no Hero Academia | My Hero Academia (Anime & Manga) Rating: Explicit Warnings: Graphic Depictions Of Violence, Major Character Death, Rape/Non-Con Categories: F/M, M/M Characters: Shuuzenji Chiyo | Recovery Girl, Aizawa Shouta | Eraserhead, Yamada Hizashi | Present Mic, Shinsou Hitoshi, Midoriya Izuku, Midoriya Inko, Nedzu (My Hero Academia) Relationships: Bakugou Katsuki/Midoriya Izuku, Midoriya Izuku/Shinsou Hitoshi, Midoriya Hisashi/Midoriya Inko, Aizawa Shouta | Eraserhead/Yamada Hizashi | Present Mic Additional Tags: Past Bakugou Katsuki/Midoriya Izuku, Past Midoriya Hisashi/Midoriya Inko, Past Child Abuse, Domestic Violence, Murder, Torture, Implied/Referenced Rape/Non-con, Decapitation, Yamada Hizashi | Present Mic Adopts Shinsou Hitoshi, Aizawa Shouta | Eraserhead Adopts Shinsou Hitoshi, Pro Hero Shinsou Hitoshi, Good Parent Midoriya Inko, Endgame Midoriya Izuku/Shinsou Hitoshi, Hurt Midoriya Izuku, Non-Consensual Drug Use, Tranquilizers, Other Additional Tags to Be Added, Tags May Change, Tags Contain Spoilers, Tags Are Hard Use the related link post to read it on AO3 at https://archiveofourown.org/works/59736268

[xavathun]

here’s some assorted screenshots for all my lil guys <3333

hiii pls reblog this with a couple random screencaps of your guardian (possibly from a cutscene), i wanna make some young wolf themed textposts but i don't feel like only using my character

[ao3feed-tododeku]

Quirk: Glitch Out

Quirk: Glitch Out by nikisheartbreak

The Hoard The Burrow The Hearth

These are the points of which our 3 Vigilantes call home. Cast aside by the people who were supposed to protect them, they turn their anger into their drive to save others like them.

It is no easy feat, but they will prevail regardless.

Words: 452, Chapters: 1/?, Language: English

Fandoms: 僕のヒーローアカデミア | Boku no Hero Academia | My Hero Academia (Anime & Manga)

Rating: Teen And Up Audiences

Warnings: Graphic Depictions Of Violence

Categories: M/M, Multi

Characters: Bakugou Katsuki, Todoroki Shouto, Midoriya Izuku, Aizawa Shouta | Eraserhead, Yamada Hizashi | Present Mic

Relationships: Bakugou Katsuki/Midoriya Izuku, Bakugou Katsuki/Todoroki Shouto, Midoriya Izuku/Todoroki Shouto, Bakugou Katsuki/Midoriya Izuku/Todoroki Shouto, Aizawa Shouta | Eraserhead/Yamada Hizashi | Present Mic

Additional Tags: Ex-Villian Hisashi Midoriya, Good Parent Midoriya Hisashi, Midoriya Inko's Bad Parenting, Bakugou Mitsuki's Bad Parenting, Yagi Toshinori | All Might Bashing, Hero Public Safety Commission Bashing, Vigilante Midoriya Izuku, Vigilante Bakugou Katsuki, Vigilante Todoroki Shouto, Parental Aizawa Shouta | Eraserhead | Dadzawa, Dadzawa, Parental Yamada Hizashi | Present Mic, Aizawa Shouta | Eraserhead Adopts Midoriya Izuku, Aizawa Shouta | Eraserhead Adopts Bakugou Katsuki, Aizawa Shouta | Eraserhead Adopts Todoroki Shouto, Midoriya Izuku Has a Quirk, Midoriya Izuku Does Not Have One for All Quirk, Shouto Todoroki has a tranquilizer gun, Midoriya Izuku Has a Knife, Bakugo Katsuki has a bow and arrow

Read Here: https://archiveofourown.org/works/47348935

[pochqmqri]

Shingo Natsume (One-Punch Man S1, Space Dandy) is directing an original sci-fi anime with Madhouse titled “Sonny Boy,” premiering July 15th. Mangaka Hisashi Eguchi is credited with creating the original character designs that Norifumi Kugai will adapt for the anime. A teaser was posted on April 28th.

The ensemble drama centers around 36 boys and girls. On August 16, midway through a seemingly endless summer vacation, middle school third-year student Nagara, the mysterious transfer student Nozomi, and classmates such as Mizuho and Asakaze, are suddenly transported from their tranquil daily lives to a school adrift in an alternate dimension. They must survive with the super powers that have awakened within them.

Eguchi has not done work for an anime since Mujin Wakusei Survive (Uninhabited Planet Survive) in 2003-04, where he also did the original character designs, so it’s very interesting to see him return to the field after all these years. In addition, vocalist and guitarist Kazunobu Mineta of the rock band Ging Nang Boyz, whom Eguchi has done album artwork for, wrote the opening theme “Shonen Shojo” (Boys and Girls) for the anime.

The teaser for the upcoming anime also has a reference to Stop!! Hibari-kun!, one of Eguchi’s most known manga.

[ao3feed-izuku-midoriya]

Tranquility

Tranquility by Samovar

Tranquility.

The quality or state of being tranquil; calm and relaxed. If only the world could be like this. For too long, many have lived behind the great Symbol Of Peace living their lives in his shadow.

Midoriya Izuku, however will make sure to make a mark even deeper then All Might himself. Will it be enough to achieve true Tranquility? He doesn't know and neither do you, but we all know that he'll put up one hell of a fight trying to achieve it, No matter the obstacles or quirk he has!

Words: 2658, Chapters: 1/?, Language: English

Fandoms: 僕のヒーローアカデミア | Boku no Hero Academia | My Hero Academia

Rating: Teen And Up Audiences

Warnings: Creator Chose Not To Use Archive Warnings

Categories: Other, Gen

Characters: Midoriya Izuku, Midoriya Inko, Yagi Toshinori | All Might, Uraraka Ochako, Bakugou Katsuki, Todoroki Shouto, Class 1-A, Class 1-B, Class 1-C, Aizawa Shouta | Eraserhead, Kan Sekijirou | Vlad King, Shimota Hita | Water Vestige, ??? | The Quirkless Vigilante

Relationships: Aizawa Shouta | Eraserhead/Fukukado Emi | Ms. Joke, Bakugou Katsuki & Midoriya Izuku, Midoriya Izuku & Uraraka Ochako, Midoriya Izuku & Shinsou Hitoshi, Midoriya Izuku & Original Character(s), Midoriya Izuku & Yagi Toshinori | All Might, Midoriya Izuku & Everyone, Sensei | All For One & Original Character(s)

Additional Tags: Midoriya Izuku Has a Quirk, Dead Midoriya Hisashi, Angst and Feels, Quirkless Discrimination, Midoriya Izuku & Shinsou Hitoshi Friendship, Vigilantism, Vigilante Toga Himiko, Eri Has PTSD, Midoriya Izuku Meets Eri Earlier, Sadly He Does Not Save Her, Pairings Have Yet To Be Decided, Except for the one listed, Izuku Midoriya Doesn't Know All Might's Identity, Until Early Season 2/Late Season 3, General Education Department Midoriya Izuku, Reserve Course Shinsou Hitoshi

Read Here: https://archiveofourown.org/works/29447835

[xavathun]

DESTINY OCS MY BELOVEDS!!

whips out my google doc. ok so. i have quite a few but i have two ocs that i focus on more than the others. the first is named maya and she is a praxic warlock. she is very cold and calculated and actively works to push away those around her because she would rather deal with the expected outcome of people hating her than have to guess at what will happen next in any sort of relationship. she needs control at all times and is often at odds with her solar powers because of that and is deathly afraid of failure and will do whatever it takes to win. which is why she uses stasis in secret. as a praxic warlock no one can know she uses stasis, but she feels more in tune with stasis than she ever has with any light subclass.

and then there's my hunter! his name is hisashi miya and he is an arcstrider who is a little anxious and shy at first but once you get to know him he's really silly. very clumsy for a hunter and isn't allowed near the tower railing due to how often he has fallen off but excels at stealth and precision on the battlefield. he's also selectively mute and uses jsl to talk to others! i'm still fleshing out these two as well as the other five or six other destiny ocs i have buuuut yea! :D

I want to talk to other people about their Destiny OCs but my tired ass has no energy to post/comment regularly on tumblr

Guys plz tell me about your ocs in comments so we can play barbie dreamhouse with destiny ocs

[you-may-dream]

Midnight Sun / Reprise Q&A - part 2

6. What does Iceland have that Tokyo doesn’t?

JIRO: A clean atmosphere

HISASHI: Nature

TERU: Clean air

TAKURO: Time to relax

7. What are Icelanders like?

JIRO: Really carefree

HISASHI: Bumpkins

TERU: I was under the impression that no person who lives there is bad

TAKURO: They’re so old!

8. What was the thing you were hoping for the most before you went to Iceland?

JIRO: Tranquility

HISASHI: That we would also go to London

TERU: Seeing the cityscape

TAKURO: Seeing such a distant land

9. After returning to Japan, what do you think it (Japan) needs desperately?

JIRO: More greenery (although it’s too late by this point)

HISASHI: To just stop every once in a while

TERU: Fully embrace what living truly feels like

TAKURO: Be more sincere

10. What did you ultimately do on Iceland?

JIRO: Work

HISASHI: ROCK

TERU: I reevaluated myself

TAKURO: Took some years off my life

[thesunlounge]

Reviews 227: Kankyō Ongaku

In 2017, Light in the Attic initiated an ambitious project, one seeking to survey and contextualize the modern musical history of Japan. The first release in their so-called Japan Archival Series was Even a Tree Can Shed Tears: Japanese Folk & Rock 1969 -1975, an extensive celebration of Japan’s “New Music” scene. One of the artists that emerged from this era was Haruomi Hosono, whose discography the label visited during 2018 as part of their Haruomi Hosono Archival Series (which I covered extensively here), taking a slight detour from the more general overview of modern Japanese music to celebrate one of the world’s most enigmatic and creative sonic minds. And now, at the start of 2019, Light in the Attic’s Japan Archival Series resumes with the stunning Kankyō Ongaku: Japanese Ambient, Environmental, & New Age Music 1980 - 1990. 

An introductory essay by project mastermind Spencer Doran (and a complimentary Vinyl Factory interview) paint an incredible picture of unique moment in history, when the lines between pop art, science, corporate capitalism, and new age healing all seemed to blur together. Heady modern philosophies inspired by Eno, Satie, and ancient musical traditions such as Hosono’s “oceanic feeling” and “sightseeing music,” Satoshi Ashikawa’s notions of passive environmental ambiance, and Hiroshi Yoshimura’s modes of silent tranquility all came to life within a period of great economic prosperity and technological advancement, which afforded the myriad artists and sound designers new methods and experimental avenues to display their vibratory art. This was a time when corporations, exhibition curators, theater producers, fashion designers, and advertisers all sought out musical explorers, both popular and obscure, to create wonderfully experimental compositions in conversation with the environments that surrounded them….a time when you could walk through a museum or department store and hear deeply mystical or adventurously cosmic music spilling out into the air. As well, the essay traces how Japanese environmental music, or kankyō ongaku, adapted and expanded over time, specifically its folding in of new age textures and natural field recordings as people sought an escape from the frantic energies of modern life. 

Visually, the collection is adorned with gorgeous photography of the Fumihiko Maki-designed Iwasaki Art Museum, a location and architect that both play a large role in this musical story. And beyond the introductory essay, there are well-researched descriptions and bios by Spencer and Yosuke Kitazawa that provide context and history for each and every track, with contemporaneous photos, fliers, and album covers accompanying the words. Musically, the set comprises a completely immersive and beautifully sequenced experience, one that features glowing electric piano dreamscapes, minimalist organ psychedelics, aquatic synth experimentations, spiritual stone meditations, tropical fusion glides, kosmische sound baths, underwater ambient adventures, and so much else besides. In this way, the compilation is also positioned within a larger context…a sort of global movement of space music, new age, and ambient that Light in the Attic has been exploring via their I Am the Center and (The Microcosm) collections, with Kankyō Ongaku seeking to do for Japan what those releases did for America and Europe, respectively. 

Kankyō Ongaku: Japanese Ambient, Environmental, & New Age Music 1980 - 1990 (Light in the Attic, 2019) Though his life was tragically short, Satoshi Ashikawa looms large in the world of kankyō ongaku, not only for his compositions and philosophies, but also due to working at the influential Art Vivant book and record shop, a sort of cultural hub and early importer of avant garde, ambient, and minimalist music within Japan. His “Still Space” sees crystallized FM pianos moving through starlight note clusters and atonal chord bursts, with a backing of vaporous string swells. The sounds evoke leaves blowing in the wind and slow motion ripples on the surface of a pond and Satoshi is just as interested in silence, with chasms of empty space sitting between the patient, methodical, and meditative melodies. Yoshio Ojima’s “Glass Chattering” is taken from Une Collection Des Chainons: Music for Spiral, his 2xCD masterwork created for Wacoal’s Spiral building…another important architectural space within the environmental music scene designed by Fumihiko Maki. Underwater computer sequences sound like seafloor vents letting out streams of liquid glass while space flutes swim overhead. The dazzling electronics briefly recede, leaving synthetic woodwinds to intertwine and flow freely. And once the vibrant sequential patterns return, melancholic orchestrations are discernible within their movements, only obscured by watery percolations. Pale synth streaks drift on echowaves then fade away during a false ending, with the silence soon replaced by a looping vortex of polychromatic music boxes and shimmering chimes with gentle pads walking underneath…their spacious notes decaying through reverb caverns.

One of my favorite aspects of this compilation is how it goes out of its way to pay tribute to Hideki Matsutake, the un-official fourth member and sound programmer of Yellow Magic Orchestra and expert synthesizer technician who rarely gets his due. “Nemureru Yoru” was originally conceived as a novelty sleep aid and is presented here in its instrumental form. Wavering pads and whistling sequences generate playful vibes of childlike wonder before fading into a phaser-blasted drone expanse, wherein pillowy 808 kicks sit below synthetic approximations of traintrack clicks and dripping liquids. And as heatwave static mirages create psychedelic patterns that wrap around the body, dreamtime arps constructed from filtering feedback flutters lull the mind into relaxation. Then comes a track by Ayuo Takahashi, who spent his teens jamming with Ryuichi Sakamato and those lords of molten psychedelia Fushitsusha before embarking on an adventurous solo career marrying modern electronics and ancient and medieval musical traditions. “Nagareru” is intensely beautiful and starts with gentle piano arpeggios intertwining with waterfall solo cascades as shimmering bell strands and twinkling chime vibrations suffuse the background. String synths and kosmische organs swell with majestic orchestrations while Ayuo’s piano journeys into the clouds…all setting the stage for the introduction of Koharu Kisaragi, a radiant goddess whose cosmic angel voice soars through gaseous fx layers and star ocean expanses.

Of all the artists appearing here, Joe Hisashi has one of the most storied careers. He’s a musical polyglot, equally comfortable exploring anime and video game OSTs, classical music, and vocal pop. But for Kankyō Ongaku, we focus on Joe’s more obscure and psychedelic side with Wonder City Orchestra’s “Islander.” Owing to his early interests in American minimalism, “Islander” is deeply indebted to Terry Riley, with bubbly organ patterns moved over by ring modulated steel drum sequences and aquamarine pad swells. Rainforest drum panoramas work into the mix with rolling finger motions and sunshine rhythm energies while kosmische organ smears swirl like a galactic gas cloud. And best of all, psychoactive organ pulsations fly through time-lag accumulators, creating rapid motion dreamspells and hypnotizing crystal cascades. Yoshiaki’s Ochi “Ear Dreamin’” is another piece closely associated with Wacoal and the Spiral Building, though it was originally written as part of a stage performance entitled Natural Sonic from 1983. Layered mbiras, balafons, bell-tone shimmers, and lullaby chimes work together as whistling melodies fly through the sky…everything coming together for a polyrhythmic dance of idiophonic magic. Mermaid choirs float up from deep sea depths as wooden planks vibrate, metal tines oscillate, and bulbous gourds rattle and dazzling solo flights occasionally break-free from the Afro-minimalist dream weavings.

The liner notes cast Masashi Kitamura as somewhat of an outsider, one more involved with Japan’s prog, punk, and noise scenes than anything overlapping with kankyō ongaku. However, “Variation·III” from 1984, which was released with his band Phonogenix, fits nicely within this compilation’s larger sonic aesthetic, as triangle chimes ring out over waves of water and static. Bleary ambient tones drift in…as if funereal choirs and swells of synth and guitar ambiance have been submerged within a viscous gray fluid. Thunderous drum smacks sit loudly in the mix while mutating vibrato waves and currents of burning noise wash over the mind and at some point, bowed string instruments scream into the void. One of several Haruomi Hosono-produced tracks here is “Park” by Interior. Clicks and snaps background impressionistic smears of synth brass while drunken sequences dance through fragile melodies. Time flows in nonsensical ways and everything cycles according to a hazy dream logic as the track builds towards a climax of whip-crack drum fx and heavenly organs playing spring meadow hymns. The next track was produced by Sankai Juku dance troupe director and SCI Prophet-5 wizard Yoichiro Yoshikawa for a documentary series called The Miracle Planet (NHK, 1987). In “Nube,” galactic revolutions of aquatic synthesis surround massive bass waves and obscured male choirs that mutate through tremolo breaths. Thrilling filter ascents are immersed within sea-blue vortices and currents of black fog while elsewhere, feedback wisps and spiritual drone baths circle together.

Yoshio Suzuki has a rather impressive jazz background, having worked with titans such as Art Blakey and Sonny Rollins during the 70s before exploring softer sounds in the 80s via the use of synthesizers. Taken from Morning Picture, which was produced as part of series of ambient home listening releases by JVC, “Meet Me in the Sleep Meadow” finds hallucinatory synth pianos swimming through a thick haze, with all sorts of magical modulations added via tape warble and wow’n’flutter. And as Yoshio’s gentle Oberheim fantasias move above wispy swells, I’m reminded of the spaciousness and meditative wonder found in Satoshi Ashikawa’s work. Ryuichi Sakamoto needs no introduction and his “Dolphins” (from a dance piece by Molissa Fenley called Esperanto) is utterly beguiling, with aqueous swells of heaven bringing in reverb-smothered piano chords that seem to decay from infinite clifftops. Backwards flowing noise hazes and sea-form delay sprays sit above cut-up voices, skittering cyborg loops, staccato conversations, and droning machine breaths, all while Yas-Kaz’s improvised marimbas dance on sunbeams. One of the most interesting pieces here comes from Toshi Tsuchitori, originally a jazz drummer who drifted towards archeological musicology and ancient instrumentation. His “Ishiura” is played on sanukaito stones and sees earthen energies flowing forth from vibrating volcanic rocks. A tambourine rattles softly as Toshi creates vocal tremolo waves and overlapping resonances from stone, with his soft taps and violent bursts sometimes evoking wind chimes, other times a gamelan ensemble.

Shiho Yabuki is yet another figure who started in the world of jazz and then opened up her sound via synthesizers and research into traditional musics. In “Tomoshibi,” which is part of an album dedicated to the 1200th anniversary of the Enryaku-ji monastery, gemstone feedback fluids waver through the void…as if hallucinatory streaks of sonic mesmerism are flowing forth from a string instrument made of pure crystal. Soft plucks generate massive rainbow wavefronts while celestial zithers cascade on echo-currents and as it progresses, the track evolves into a hypnotic dance of purifying feedback melodics and Laraaji-style deep sea new age. Toshifumi Hinata produced “Chaconne” with his brother Daisuke, who was a member of Interiror. The song comes from Toshifumi’s first album Sarah’s Crime and presages his breakthrough as a TV and film composer.  We begin with sirens calling out from an island of dreams…their voices flowing through pearlescent clouds of self-oscillating delay magic and constantly threatening to spill over into resonant feedback chaos. Cosmic harpsichord sequences dance through asteroid fields and melodious bass pads flow out from the center of the cosmos with lush symphonic movements and shadowy dream transitions. Klaus Schulze-style key changes swim within a kosmische sound bath…the sequences and melodic fogs sweeping upwards through minor and major key ecstasies as pianos splash through tide pools of ether.

The adventurously far-out career of Yasuaki Shimizu intersected often with the world of kankyō ongaku, many examples of which were collected on 1987’s Music for Commercials. “Seiko 3” comes from this release and sees Yasuaki scoring a Seiko watch commercial alongside sound designer Seigen Ono. But this seemingly shallow corporate concept betrays the deep mysticism of the music, as starlight sequences and ever-flowing chime strands descend across universal expanses. Pulsing brass pads blare out and gentle submarine pings float through the ether while breathtaking polysynth movements swell in strength…the soul floating towards a cloud paradise of unimaginable color before it all cuts away. The krautrock and kosmische inspired synth fantasias and pastoral prog dreamscapes of Inoyama Land caught the attention of Haruomi Hosono in the early 80s, whole then produced and released their stunning Danzindan-Pojidon LP. “Apple Star” comes from that album and explores sunshine minimalism as played on alien sequencers. Filtering and morphing synths dance in each ear with hypnotizing patterns of futurist psychedelia while  Solina string orchestrions fly through ecstasy phasers. Hosono’s water tank delay system gives the whole track a sort of mystic sic-fi aura, as ancient earth materials are used for space age purposes. Sparkling chime strands work into the mix…these thrilling descents up and down the scale that weave fairytale polyrhythms and seascape panoramas, all while the ever pulsating keyboard patterns induce paradise trance states and interstellar string melodies swell the heart.

Like Satoshi Ashikawa, the influence of Hiroshi Yoshimura on kankyō ongaku is hard to overstate…an intrepid pioneer and cultural historian who wrote extensively about sound art and whose music found its way into “prefab model homes, train stations, public pavilions, cosmetic companies, and fashion shows,” in addition to traditional avenues of release. “Blink,” taken from Music for Nine Post Cards, is built around dreamy electric piano conversations that flow across the stereo field. Inspired by the view from Hiroshi’ss window, the music evokes cloud shadows moving over serene landscapes, hypnotic snowfall motions, grey waves crashing to shore, boats rocking gently in a paradise lagoon, the growth of grass, and the fluttering of butterfly wings. And ever so often, the hazy piano dream weavings are back by softly swelling strings and ambient orchestral gases. Cosmic prog and stoner psych legends Far East Family Band proved to be fertile breeding ground for new age music, with Kitaro, Fumio Miyashita, and Akira Ito all going on to have long careers of exploratory sonic healing. Fumio Miyashita’s “See the Light” appears here and begins within a world of soul-cleansing sonic mesmerism. Smeared out pads hover on the horizon and bass synths waltz though a forest clearing…the warm and enveloping notes moving through dew-soaked meadows while flowers open to the sunrise. As regal french horns stretch into a mystical haze, airs of Indian classical music start suffusing the harmonious drones…the track evolving into a sort of sunrise raga colored over by relaxing modulations.

As just mentioned, The Far East Family band also launched the career of new age nature healer Akira Ito, who spent a long and productive career exploring the theme of yasuragi (translated in the liner notes as “peace of mind”). “Praying for Mother / Earth Part 1” sees a Floydian space prog ceremonial hovering above a mystical river. Rick Wright-style synth brass meditations and luminescent black hole drones recall “Shine On You Crazy Diamond” while bell-tone sequences fade in and out of the galactic ether. Frogs, birds, and insects grow increasingly ecstatic while helicopter oscillations swarm within a dark sonic mist and moving towards the end, celestial pads and angel voices join together for enchanting songs of sadness. Perhaps my favorite piece here comes form Takashi Toyoda, something of a child prodigy with an incredible range as evidenced by his participation in both the New Japan Philharmonic and the Taj Mahal Travellers. In “Snow,” trance inducing minimalist patterns swim through an astral sea of dreams as flutey synth bubbles dance around dreamworld melodies of overwhelming beauty. Majestic key changes sweep the spirit away to cloud castle utopias where pure white snow falls onto the slopes of an eternal mountain....the whole thing strongly evoking Emerald Web. And the ethereal vibes of harmony are pushed over the edge by Takashi’s lonely violin fantasias while golden gloss drops of feedback descend onto the mix like shooting stars. It’s one of the most magically transportive tracks I’ve ever heard…the kind of music that could heal the world...with pure starshine flows of light and love immersing the soul.

Jazz fusion and synthesizer master Jun Fukamachi appears with “Breathing New Life,” which was originally produced to accompany a fashion show. Ritualistic drums move side to side as ceremonial metals swell. Space winds blow over bubble-synth sequences…these softly squelching dream patterns flowing beneath feedback streaks and joyous drum clatters. Marimba solos dance on tropical clouds and bring vibes of island balearica and solar fusion, while swelling choirs radiate shadow energies. And as golden glitter hazes rain over the mix, ethereal voices and epic atmospheres wrap the heart in hues of sky blue and sunset orange. The inclusion of “Loom” by Yellow Magic Orchestra is another tribute to Hideki Matsutake, as this is the only YMO song co-written by Hideki. Based around the Shepard-Risset glissando illusion, the track keeps the mind and body in a constant state of anxious anticipation as interlaced sine waves continually ascend. There is a powerful yearning for melodic alignment...some sort of heavenly convergence of harmony and sonic power and indeed such a moment eventually arrives as massive pipe-organ dronewaves fly forth and recall the score of 2001: A Space Odyssey. All the while, ping-pong balls made of electronic energy bounce through infinite hallways and as the towering organ chords recede, they leave behind a contemplative weaving of blurred synthesis, with springtide orchestrations reso-filtered into glowing phaserfluids.

Takashi Kokubo’s Get at the Wave has featured prominently on this blog, and shows up here in the form of “A Dream Sails Out to Sea - Scene 3.” Seafloor choirs diffuse through flowing ocean layers alongside aqueous pinging tones and cascading pianos. The strange asymmetrical floating motions of exotic sea-creatures are evoked by drunken tremolos and warbling delays and eventually, the pianos work into a swooning post-classical love song as long flowing chime strand intertwine with wondrous harp runs. Masahiro Sugaya’s “Umi No Sunatsubu,” like most of his recorded work, comes from a theater production by the group Pappa Tarahumara (called Zoo of the Sea). Plinking upright pianos are close mic’d, with multiple layers drifting over each other. The sounds are old and detuned with no fx or overt production tricks…just strange ivory mesmerisms moving untethered through space and time. Kankyō Ongaku ends perfectly, with an expansive polysynth solo meditation from Haruomi Hosono called “Original BGM”. Here he is…stripped free of the concepts, the ironic humors, the sort of mercurial distance he typically maintains…baring his heart and soul through warm fantasias of synthetic brass. Sometimes he dances through single note dream spells, the decaying tails wavering through balmy modulations. Other times, hovering chord clusters transitions into descending runs that seem to fall over themselves, with occasional flights into soaring resonant feedback. It’s ethereal, exploratory, and deeply entrancing…a relaxing and impressionistic rendering of the cycles of nature.

(images from my personal copy)

[marsjapancharlottetoms]

Japan Base Research:

Japanese art:

Who is Tenmyouya Hisashi and how does he bring old styles to contemporary subjects?

He supposed his unique Japanese painting "Neo-Nihonga" which revives Japanese traditional paintings is a form contemporary art. He also created his new style "Butouha" which shows the resistant attitude for authoritative art system through his paintings. He also created his new style "Butouha" which shows the resistant attitude for authoritative art system through his paintings.

Who is Hiroshi Yoshida and what type of paintings does he produce i.e. style, line, flat colours, palette?

Yoshida was one of the first major woodblock printers in Japan to step outside the traditional separation of skills in which wood block prints were designed by artists but carved and printed by separate printing studios, by establishing his own studio of carvers and printers who worked under his close supervision.

Yoshida’s quietly beautiful landscapes are composed of delicate linework enlivened with soft but somehow vivid colors. Like many Japanese printmakers, he suggests even more than he shows, and his deceptively simple images carry an uncanny emotional resonance.

Who is Kawanabe Kyosai and how would you describe his style i.e. contest his tiger with reality.

Kawanabe Kyosai was a Japanese artist focusing mainly on painting and printmaking of the weird, the comic and the obscure. He belonged to the generation of ukiyo-e artists in transformation from the Edo to the Meiji period, from the Middle Ages to a Modern Industrialized Society. His art style being more reminiscent of traditional Japanese art using bold colours and abstract shapes in order to create intriguing animal concepts based on real life beings.

What is the tradition of Ukiyo-e? (see Hokusai’s Great Wave).

Ukiyo-e, often translated as "pictures of the floating world," refers to Japanese paintings and woodblock prints that originally depicted the cities' pleasure districts during the Edo Period, when the sensual attributes of life were encouraged amongst a tranquil existence under the peaceful rule of the Shoguns.

Who is Yayoi Kusama? And what type of work does she produce and why?

Kusama remembers beginning to paint as a child, at about the same time she began experiencing strange hallucinations that often involved fields of dots. Those hallucinations and the theme of dots would continue to inform her art throughout her career. Family conflict and the desire to become an artist drove her to move in 1957 to the United States, where she settled in New York City. Before leaving Japan, she destroyed many of her early paintings, starting fresh and developing her style into what it is today.

[nintendo-town]

Durant le Cedec 2020, un évènement rassemblant de nombreux développeurs japonais, Nintendo s’est livré à une conférence sur les éléments constituant les concepts de la série Animal Crossing et leurs objectifs pour Animal Crossing : New Horizon.

[amazonjs asin=”B0821XHJB6″ locale=”FR” title=”Animal Crossing : New Horizons pour Nintendo Switch”]

Faire coexister tradition et innovation

La première partie se nomme “Transition dans le Game Design” et a été présentée par Nogami Hisashi, qui a participé à la série depuis ses débuts. Selon lui, pour beaucoup la série Animal Crossing se résume certainement à l’image “d’un jeu de fille dans lequel on mène une existence paisible aux côtés d’animaux tout mignons”.

Selon une étude sur Animal Crossing : New Horizon, il semblerait que ceux qui jouent sont majoritairement des gens dans la vingtaine ou des trentenaires et qu’il y ait autant d’hommes que de femmes. Il ajoute que le jeu n’ayant pas encore 1 an, on pourrait assumer que des enfants n’aient pas eu l’occasion d’acheter le jeu à ce jour, mais dans tous les cas, l’étude démontre que l’image qu’on peut avoir de la série est fausse.

Représente en vert les hommes et en orange les femmes jouant à Animal Crossing : New Horizon par âge (Étude faite en juillet)

Animal Crossing est également catégorisé dans le genre “Communication” et l’on peut penser “à un jeu dans lequel on communique avec des animaux”, chose qui n’est pas fausse sur une partie de l’expérience. Mais la véritable intention de Nintendo derrière ces mots est d’en faire une expérience où “les joueurs communiquent entre eux”.

Sur la boite du jeu Gamecube au Japon, on peut y lire “Jouer à 2 plutôt que tout seul. Jouer à 4 plutôt qu’à 2. Jouer à plusieurs… plutôt qu’à 4 !”. Au final, la conception du jeu et son game design se sont faits en gardant cette intention de communication entre des individus.

“Communication entre individus”

Boite Nintendo 64

Du coup, quel est le rôle des animaux ? En bref, ils sont le substitut d’une personne. Pourtant, cela ne signifie pas qu’ils remplaceront d’une manière simple une véritable personne.

Une des fonctionnalités d’Animal Crossing, c’est de pouvoir partager ses données de sauvegarde avec plusieurs joueurs. Un Village devient une donnée de sauvegarde et plusieurs joueurs peuvent s’y trouver. Tandis qu’un joueur fait grandir des fleurs et des arbres puis envoie des lettres, un autre joueur du même village jouant après lui peut s’apercevoir de ces changements. On peut dire qu’il s’agit d’une expérience de jeu de communication asynchrone dans laquelle plusieurs joueurs jouent à divers moments et en partagent les résultats.

À travers cette fonctionnalité, les animaux vivants dans ce village posséderont une mémoire des joueurs avec lequel ils ont interagi. Lorsque l’on parle à un villageois, il se souviendra du nom, du moment de la rencontre et du lieu. Au début, il vous abordera en disant “Enchanté” puis la fois suivante il vous répondra “Et bien comme on se retrouve”. Il devient même capable d’inventer un genre de ragot qu’il répandra du genre “Ah lui ! Il passait son temps à pêcher”. Et il ira répandre ses ragots aux autres joueurs.

Et ces animaux ont des souvenirs qui ne s’arrêtent pas aux frontières d’un seul village.

De plus, à travers l’utilisation de supports physiques comme le “Controller Pack” sur Nintendo 64 et les Cartes Mémoires sur Nintendo Gamecube, il était possible pour un joueur d’aller dans un autre village. En se rendant dans un autre village, un joueur a la possibilité de transmettre de nouveau ses informations aux villageois de celui-ci.

Découlant de cela, en partant d’un village, un animal peut s’attacher à vous et décider de déménager du village d’origine dans lequel vous l’avez rencontré pour venir dans le vôtre. À ce moment, les villageois qui viennent de villages de vos amis gardent en eux leurs souvenirs d’origines et ne se privent pas de vous les raconter.

    Avec ce genre d’aller-retour de villageois, les données de sauvegarde se lient et ne forme plus qu’une. En partageant ainsi ces souvenirs de ce que vous accomplissez dans un certain village, un villageois qui déménage fait indirectement entrer de plus en plus de joueurs en relation et ces liens s’étendent de plus en plus. C’est un terme assez étrange à employer, mais la série Animal Crossing a été désignée pour être un “jeu online n’utilisant pas Internet”.

Aujourd’hui, la série utilise Internet, mais cette idée de base reste inchangée selon Nogami-san.

Un jeu en ligne n’utilisant pas Internet

C’est à partir de cette idée que l’identité d’Animal Crossing s’est formée. Un des points qui forme cette identité est justement cette possibilité de jouer à différent moment et de communiquer à son rythme puis d’accumuler et de partager toutes sortes d’informations tout en faisant ce que vous avez envie de faire. En plus de proposer une progression tranquille, le fait que les choses évoluent en temps réel, créer chez le joueur ce sentiment de “vouloir être présent à certains moments” du jeu.

De nombreux autres éléments sont dispersés dans le jeu, et cela a été pensé pour que chaque donnée de sauvegarde puisse devenir le reflet de la personnalité du joueur. Cette identité propre à Animal Crossing se retrouve finalement aussi dans les derniers travaux effectués sur la série.

Identité d’Animal Crossing : Communication à son rythme. Partage et accumulation d’informations de manière naturelle en faisant ce dont vous avez envie. Un espace-temps qui évolue tranquillement en même temps que la réalité.

Identité d’Animal Crossing

En voulant faire court, on finit encore une fois par revenir à cette première image du jeu “dans lequel on mène une existence paisible aux côtés d’animaux tout mignons”, mais l’on se rend compte que c’est en fait le résultat d’une volonté de créer de la communication entre individus.

Dans Animal Crossing Wild World sorti en 2005 sur Nintendo DS

Dans Animal Crossing Wild World sorti en 2005 sur Nintendo DS, il était possible de se connecter en local et grâce à Internet, cela a permis à plusieurs joueurs de jouer ensemble au même instant. Ainsi, il est devenu plus facile de rendre visite à ses amis, mais il en résulte également le fait que les communications asynchrones ont été de plus en plus nombreuses.

Dans Animal Crossing Let’s Go to the City sorti sur Wii en 2008, la communication au même instant a encore été renforcée notamment par l’ajout du tchat vocal. Les possibilités d’échanges de données ont été également augmentées par un système ressemblant à des échanges de mail. Cependant, c’est une fonctionnalité importante qui n’a pas été bien comprise des joueurs qui ont eu l’impression que “peu de choses avaient évolués depuis le précédent jeu”. Les développeurs ont alors compris l’importance d’apporter des éléments d’améliorations visibles aux yeux de tous.

Animal Crossing: New Leaf sorti en 2012 sur Nintendo 3DS représente un tournant important pour la série. En se posant à nouveau la question de savoir ce qui faisait d’Animal Crossing un jeu ou non, l’équipe en est revenue au fameux résultat : c’est un jeu de “Communication”. C’est en repartant sur cette idée et en prenant en compte les possibilités du moment qu’a été introduite l’idée d’incarner le “Maire du Village”.

C’est en constatant que ces nouveautés sur 3DS avaient été adoptées facilement et que de nombreux joueurs avaient répondu à celles-ci en jouant activement à cette nouvelle version du jeu que nous avons développé Animal Crossing : New Horizon. C’est avec cette même détermination que nous avons continué à faire évoluer le jeu pour aller toujours plus loin. Selon le Directeur du dernier opus Switch, Kyogoku Aya-san, il faut continuer “à prendre en compte l’époque pour y semer de nouvelle graine de communication”. Tout cela en visant à élargir la base d’utilisateur, en proposant des nouveautés et en élargissant toujours plus l’expérience.

Exemple de graine de communication semée dans le dernier jeu : jeu en ligne à plusieurs en “Party mode”, partage de motif en ligne, invitation de joueurs par système de mot de passe.

La séparation en génération du Game Design de la série Animal Crossing. Bien que présentant de nombreux changements, Animal Crossing: New Leaf est considéré comme un jeu de la seconde génération de Game Design qui débute avec l’introduction d’Internet. Il est le point culminant de celle-ci.

Afin d’élargir cette expérience, l’équipe s’est concentrée sur 3 points : “avoir des points de réalisation et des objectifs évoluant par phase”, “aller sur une évolution non pas juste verticale, mais horizontale” et “aider à l’établissement d’un objectif”.

Concernant le premier point, Animal Crossing est une série dans laquelle on mène une vie sans fin, c’est un jeu qui n’a pas de fin en soi. De ce fait, le joueur s’éloigne de l’expérience à partir du moment où il perd de vue son objectif ou bien lorsqu’il commence à s’y ennuyer.

Le premier thème a été abordé dans la volonté de laisser un bon souvenir à chaque joueur sur leur expérience passée dans le jeu, et cela même si ceux-ci s’éloignent finalement du jeu.

Concrètement, c’est ainsi qu’est née cette idée de façonner son île à partir d’une île déserte. Un concept que l’on peut résumer en quelques mots comme dans le précédent jeu de la série et le fait de “devenir Maire”.

Ensuite, nous avons donné un objectif à moyen terme. Alors que vous arrivez sur votre île déserte et que vous commencez tout juste à l’aménager, on vous invite à y aller plus sérieusement en vous donnant l’objectif d’obtenir un concert de Kéké, cette figure familière, sur votre île. Vous avez ainsi l’impression de suivre un semblant d’histoire avant l’arrivée de Kéké puis arrive le sentiment d’avoir accompli quelque chose en le voyant finalement débarquer. Après quoi, vous pouvez apprécier une expérience plus libre et plus traditionnelle de la série “Animal Crossing”. Le jeu a donc adopté une construction en 2 parties.

Pour le second point, on parle d’évolution verticale dans le cas où l’expérience de jeu augmente avec le temps de jeu. Tandis que l’évolution horizontale implique une plus grande gamme d’expérience provenant d’un certain élément.

Pour les fans de la série Animal Crossing, mener une vie paisible de villageois est une chose banale et normale dans le jeu. Il devient difficile de leur faire sentir de la nouveauté au cœur de cette habitude de vie paisible. Même en leur introduisant une nouveauté par évolution verticale, lorsqu’ils la débloquent, ils auront vécu quelque chose d’habituel jusqu’à cet instant. Nous avons donc amené une évolution horizontale afin d’élargir toujours plus la gamme d’expérience.

Par exemple, jusqu’à présent le rôle principal de la végétation était purement paysager ou celui de proposer du jardinage. En ajoutant désormais la possibilité de les récupérer en tant que matériaux, cela permet d’élargir leur rôle. À travers le fait de pouvoir mener une existence satisfaisante sur une île déserte et en augmentant les possibilités et les choix dès les débuts du jeu, cela permet de délivrer une expérience amusante totalement différente de ce que la série nous a habitué jusqu’à maintenant.

Enfin, le troisième point, il va sans dire que dans la série Animal Crossing, il n’y a jamais eu de présentation d’objectif particulier. Certes, il y a le fameux prêt forcé par Nook, mais si vous ne voulez pas agrandir votre maison rien ne vous contraint à le rembourser. Personne ne viendra saisir vos biens ou vous expulser de votre maison. Dans Animal Crossing, on s’amuse simplement en trouvant ce que l’on veut faire et en passant nos journées à le faire.

Livrés à eux-mêmes, beaucoup de joueurs ne comprenaient pas l’expérience proposée par le jeu et c’est devenu une des problématiques de la série.

Ainsi, au lieu de vous faire atterrir tout simplement sur une île déserte, le jeu a été introduit par la “formule évasion” qui a ensuite introduit avec les “Nook Miles”. Cela a permis aux joueurs qui n’ont pas l’habitude de la série de trouver une façon d’initier le gameplay tranquille d’Animal Crossing et de le comprendre. Tandis que ceux qui connaissent déjà la série y verront une autre façon d’appréhender leur jeu.

Le résultat de l’intégration de ces points à cette version du jeu a énormément changé celui-ci en comparaison avec les autres jeux de la série. Dans les versions précédentes, on menait son expérience de vie normale après avoir conclu la séquence d’introduction. Après cette introduction, on contractait un prêt avec Nook puis on commençait à rembourser. Afin de progresser dans le jeu, de nouveaux éléments faisaient alors leur apparition.

En comparaison, l’introduction d’Animal Crossing : New Horizon est en fait beaucoup plus dense. Dans cette nouvelle introduction, de nouveaux éléments se débloquent et l’on mémorise des façons de jouer. Une fois que le concert de Kéké s’est déroulé, l’expérience normale ne fait que commencer et c’est à ce moment que l’on débloque de nouveaux éléments de progression plus complexe qui nous permettent d’apprécier encore plus le jeu et de nous donner une sensation de liberté de jeu encore plus grande.

Orange Introduction / Vert Expérience normale Animal Crossing / Bleu nouveaux éléments / Rouge Mise à jour

Cette séquence de jeu est en fait le thème de base qui nous a permis d’avoir pour objectif de “combiner tradition et innovation”.

Rien ne peut être maintenu sans changement.

Dans cette seconde partie, les “Transition dans l’organisation du développement” de la série Animal Crossing ont été présentés. Cela fait maintenant 19 ans, en 2001, le premier jeu de la série Animal Crossing sortait sur Nintendo 64, mais depuis l’organisation autour du développement de chaque opus a changé.

Pour le premier Animal Crossing, il y avait 2 directeurs sur le jeu, un certain planificateur ainsi que Nogami-san. Son collègue planificateur se chargeait de créer les messages et définir les séquences impliquant d’introduction du jeu, les objectifs et la progression globale. Tandis que Nogami-san se chargeait des graphismes et du système de jeu.

Sur l’opus Nintendo DS, son ancien collègue est devenu producer et Nogami-san fut le seul directeur. Avec l’augmentation des éléments de communication, Nogami-san a joué le rôle de coordinateur entre les différentes équipes et a affecté un responsable sur différentes parties du jeu. Sur l’opus Wii, l’organisation fut similaire.

À partir du jeu Nintendo 3DS, Nogami-san s’est retiré de son rôle de directeur et une nouvelle équipe a été formée. Les rôles ont été répartis sur 2 directeurs et un directeur artistique a été sélectionné pour prendre en charge la partie graphique.

Sur Nintendo Switch, nous revenons à un seul directeur. D’autres rôles ont été attribués comme celui de directeur système pour Kyogoku Aya-san ou des rôles de sous-directeur ou encore de directeur message.

  Ci-dessus, on aperçoit les diverses transitions dans l’organisation du développement de la série Animal Crossing. Cependant, pour un joueur, c’est une information futile, car il ne s’intéresse pas forcément à l’organisation qui a été adoptée à la création du jeu. Après tout, ce qui l’intéresse c’est de savoir si un jeu est amusant ou non.

Ainsi, la question est de savoir comment poursuivre une série sans risquer de lasser les joueurs ? Kyogoku-san explique que peu importe la société, il s’agit de trouver le bon équilibre entre faire quelque chose de différent par rapport aux travaux menés dans le passé, mais en conservant se qui peut sembler être le cœur d’une série. Pour un développeur, le développement d’une série est une des choses les plus plaisantes dans le métier, mais aussi la plus difficile.

Kyogoku-san liste ensuite ce qui a été retenu dans le développement de la série Animal Crossing au fur et à mesure que les équipes et organisations changeaient à chaque opus.

  Le plus important pour ceux qui ne connaissent pas beaucoup une série, c’est de se rapprocher au mieux de la vision d’un individu qui a de l’expérience. Contrairement à un vétéran, une personne sans expérience avance plus prudemment sur l’évolution d’une série, mais elle est justement plus sujette à “changer une série” inconsciemment. Leur manque de connaissance et de compréhension rend justement plus difficile pour elle d’identifier ce qu’il faut changer ou non.

Lorsque l’on est impliqué dans le développement d’une série, il est très important d’approfondir notre compréhension afin de compléter notre inexpérience. Il s’agit de revenir sur les produits antérieurs et leur spécification, mais pas seulement. Il faut étudier l’histoire complète du développement, les organisations qui se sont faites et interroger des personnes directement impliquées afin d’obtenir toujours plus de connaissance. Même si l’on n’est pas le père créateur d’une série, il faut se considérer comme un des parents de celle-ci et être confiant afin de prendre des décisions pour son orientation.

Les éléments évoqués dans ce panel sont des choses partagées sur le site web de l’équipe de développement et sont utilisés en tant que conseil et ligne directrice de développement. De plus, lors de réunion avec toute l’équipe, il n’est pas uniquement question d’aborder le projet actuellement en cours, mais c’est aussi l’occasion de revenir sur des processus de développement adoptés depuis la naissance d’une série.

Sur les 3 autres fournées d’images, il est question de l’importance d’un individu, d’une équipe et son rôle. Et qu’un changement d’élément ne rime pas forcément avec le changement d’une partie d’un jeu, mais du jeu en lui-même voire de la série.

Il est dit ensuite que le thème abordé ici est sur le fait de garder une tradition tout en travaillant sur l’innovation, de continuer à grandir en surmontant des défis. C’est ce que l’équipe Animal Crossing a fait jusqu’à présent et qui se résume en une expression : « Rien ne se maintient sans changement ».

Protéger une IP, ce n’est pas juste protéger des spécifications. Il s’agit de jeu et faire la même chose fini par ennuyer. Pour qu’une IP continue d’exister, il faut que de nombreuses personnes continuent d’en profiter et il est également important de la remettre en question à travers les époques et générations.

Animal Crossing – Un Game Design visant à combiner tradition et innovation Durant le Cedec 2020, un évènement rassemblant de nombreux développeurs japonais, Nintendo s’est livré à une conférence sur les éléments constituant les concepts de la série Animal Crossing et leurs objectifs pour Animal Crossing : New Horizon.

[ao3feed-izuku-midoriya]

A Cursed Legacy

A Cursed Legacy by Basileus Komnenos

It is often said that the sins of the father are paid by the son, and while All Might sacrificed his health when he faced All For One, the ancient villain lost far more. With his Empire crumbling around him, All For One now prepares to pass on his accursed legacy to his heir.

And with the ruler of Japan's underworld seemingly vanquished once and for all, the heroes rest on their laurels content with their false tranquility as the prince plots regain his father's throne.

Words: 3454, Chapters: 1/?, Language: English

Fandoms: 僕のヒーローアカデミア | Boku no Hero Academia | My Hero Academia

Rating: Teen And Up Audiences

Warnings: Graphic Depictions Of Violence

Categories: Gen

Characters: Midoriya Izuku, Sensei | All For One, Yagi Toshinori | All Might, Midoriya Inko, Hatsume Mei, Todoroki Shouto, Shigaraki Tomura | Shimura Tenko, Midoriya Hisashi, Sasaki Mirai | Sir Nighteye, Tsukauchi Naomasa, Uraraka Ochako, Eri, Garaki Kyuudai | Ujiko Daruma, Bakugou Katsuki, Iida Tenya, Toogata Mirio, Shinsou Hitoshi, Aizawa Shouta | Eraserhead, Bubaigawara Jin | Twice

Relationships: Midoriya Izuku & Sensei | All For One, Midoriya Hisashi & Midoriya Izuku, Midoriya Inko & Midoriya Izuku, Midoriya Inko/Sensei | All For One, Midoriya Hisashi/Midoriya Inko, Kurogiri & Midoriya Izuku, Kurogiri & Shigaraki Tomura | Shimura Tenko, Midoriya Izuku & Yagi Toshinori | All Might, Aizawa Shouta | Eraserhead & Midoriya Izuku, Sasaki Mirai | Sir Nighteye & Yagi Toshinori | All Might, Eri & Midoriya Izuku, Izumi Kouta & Midoriya Izuku, Midoriya Izuku & Todoroki Shouto, Class 1-A & Midoriya Izuku, No Romantic Relationship(s)

Additional Tags: DFO, Dadzawa - An Aizawa Shota Zine, Sensei | All For One is Midoriya Hisashi, Sensei | All For One is Midoriya Izuku's Parent, Parental Sensei | All For One, Midoriya Izuku Does Not Have One for All Quirk, Hero Society Is Corrupt, Down with the HSPC!, Villain Midoriya Izuku, Anti-Hero Midoriya Izuku, Anti-Villian Midorya Izuku, Midoriya Izuku Has a Quirk, Midoriya Izuku Has All for One Quirk, Quirkless Discrimination, Quirk Theory, Quirk Analysis, BAMF Midoriya Izuku, dad for one, Smart Midoriya Izuku, Slice of Life, Protective Sensei | All For One, Manipulative Sensei | All For One, truth from a certain point of view

Read Here: https://archiveofourown.org/works/31656551