#yoshie tanaka

[filenameghost]

I made a prsk oc unit !!

link to the picrew I used

I don't have a unit name for them yet or any story stuff figured out, but they're a folk rock band and their sekai is garden themed!!

I'm going to draw them eventually but I used a picrew just to figure out their designs first

I also made a virtual singer OC for them hehe her name is valentine

[scarskelly]

Photo dump of my romp through YOH's Ameba Blog (4/5)

[leaveharmony]

Lio’s first traditional CHAOS boy rescue mission :’)

[minato-division03]

The OC’s in a Horror Movie 🔪

Dies first: Karada Kessaku (Jet Set Trio), Kensaku Morimoto (ECO BooN), Maki Umemoto (山茶花 Zombeez), Shuu Edogawa (山茶花 Zombeez), Yoichi Shujo (Polar Knights), Joey Kurusu (Justice Shield), Yorii Sakuma (ENIGMA)

Is actually helpful to the group: Anika Kiyozaki (Pixel Syndicate), Shisuta Heisha (Sakura Clan), Kai Quinlan (Private Party), Mireya Quinlan (Private Party), Arisu Chihakisa (Chuohku Tertiary Team), Ayumu Hayami (Valor Guard), Yuuya Kanata (Miraitabi), Yuki Kuraokami (Polar Knights), Mai Yousei (OverDrive), Sayaka Miyuki (Femme Fatale), Miho Kobayashi (CodeX), Wataru Sasaki (Justice Shield), Criss Hiromi (Otaku Corps)

Finds a gun and uses it wisely: Shian Meizono (Pixel Syndicate), Ax (Desolate Paradise), Alexis Ward (Sounds of Silence), Mayumi Tanaka (Chuohku Tertiary Team), Yuriko Kuromiya (Wicked Requiem), Sakura Kito (Silent Tragedy), Akihisa Mashiro (Death Row Block), Saigo Fuyugami (Miraitabi), Teijo Masakazu (地獄Riderz), Eko Seishin (OverDrive), Lola Takahashi (Femme Fatale), Ren Nakashima (Lovesick), Kyler Aaron (Justice Shield), Aika Yumi (Oculus)

Finds a fun and goes crazy with it: Makina Setsukura (Pixel Syndicate), Zakari Hiroya (Private Party), Hisoka Tetsuma (Veiled Vanguard), Lyall Shiba (Valor Guard), Iwao Masuda (Polar Knights), Sumire Shinomiya (CodeX), Meari Miracle (Oculus)

Screams every second: Atlas Kazanari (Desolate Paradise), Yano Ietsuna (ECO BooN), Kyō Sakuma (Wild Shīnu), Keiko Yumi (Otaku Corps)

Completely Unfazed: Miku Shirazuki (R.I.P Märchen), Luis Kōkyū (Jet Set Trio), Ivelisse Martinez (Sounds of Silence), Asato Rikiya (ECO BooN), Seiji Tsukimoto (Valor Guard), Ishihara Daisuke (地獄Riderz), Ritsuko Okada (CodeX), Max Soukoku (Lovesick), Nikki Yoshie (Otaku Corps)

Beats up the enemies: Reiaki Suzubayashi (R.I.P Märchen), Aranai Norikoru (Sakura Clan), Kisouna Yuzairu (Sakura Clan), Riyeko Ietsuna (Chuohku Tertiary Team), Kanra Akemi (Wicked Requiem), Reika Aichi (Silent Tragedy), Rintaro Himura (Death Row Block), Asahi Tomoharu (Miraitabi), Ryuunosuke Sekiguchi (Wild Shīnu), Sen (地獄Riderz), Kureha Koizumi (Femme Fatale)

Has a death grip on someone’s hands because they’re too scared: Anaia Mitsuzume (Desolate Paradise), Ryuko Umemoto (山茶花 Zombeez), Daiki Kamiyama (Veiled Vanguard), Naoki Hamasaki (Wild Shīnu), Elliot Shimizu (ENIGMA)

Is the enemy: Tomi Chōten (Jet Set Trio), Kanon Hojo (Silent Tragedy), Touya Kisaragi (Death Row Block), Ruichi Shujo (Polar Knights), Yuno Kamora (OverDrive), Nadya Kuromiya (Oculus)

Second enemy that helps the group: Queen Card (R.I.P Märchen), Hoàng Diệu (Sounds of Silence), Jack Verrill (Veiled Vanguard), Kaoru Shinozaki (Wicked Requiem), Kaiji Sano (Lovesick), Mina Nakayama (ENIGMA)

@minato-division03 @akihabara-division03 @nagasaki-division @uenodivision @aoyama-division @arakawa-division @roppongi-division @toyama-division @suginami-division @nug-chuohku @obihiro-division @naradivision @edogawa-division @shizuokadivision @katsushika-division @niigata-division @fukuokanodivision @naha-division @sapporo-division @oita-division @saitama-division @shinagawa-division @kobedivision @kanazawa-division @minato-division01 @akihabara-division03 @setagaya-division

[king-of-kaoss]

Tanaka Mayumi in one piece i mean dandadan saying outrageous things that i cant stop hearing as luffy lmaooo

"I'll let you suckle my teats… so let me gobble that weenie"

"What a…. son of bitch"

"Alright, I'll eat you, so run away. ... I'll wait for you to finish running. 10 minutes? 20 minutes?"

"Guess I'll enjoy campus life for the first time in a while."

"Yoshi, korosu. teme wa goodbye"

[thena0315]

Sung Kang as Detective Yoshi Tanaka in Magnum P.I [1x01] [2018]

[beautyakamatsu]

Danganronpa (My AU) - Danganronpa V3 Characters's True Names + Fanchild OCs

So, Since my au Is a actor au, the Danganronpa V3 Characters have Different names unlike the THH & SDR2 Characters, also i wanted to show my Fanchildren For this au lol

Chieko Tanaka (Sonia X Gundham’s Child) Is The Actress Of Kaede Akamatsu

Akio Tanaka (Sonia X Gundham’s Child/Chieko's Older Brother) Is The Actor Of Korekiyo Shinguji

Haru Kirigiri (Sayaka X Kyoko’s Child) Is The Actor Of Shuichi Saihara

Keiko Matsuda (Junko X Yasuke's Child) Is The Actress Of Tsumugi Shirogane

Taro Komaeda (Nagito Komaeda's Child) Is The Actor Of Rantaro Amami

Ryota Pekoyama (Ibuki X Peko's Child) Is The Actor Of Kaito Momota

Yuzuki Pekoyama (Peko X Mikan’s Child) Is The Actress Of Kirumi Tojo

Hinata Koizumi (Mahiru X Hiyoko’s Child) Is The Actress Of Tenko Chabashira

Himeko Kuzuryu (Fuyuhiko Kuzuryu’s Child) Is The Actress Of Miu Iruma

Kimiko Ogami (Aoi X Sakura’s Child) Is The Actor Of Angie Yonaga

K1-B0 (Makoto’s Creation) Is The Actor Of K1-B0

Shiori Ishimaru (Mukuro X Kiyotaka’s Child) Is The Actress Of Maki Harukawa

Kiichi Oma (Taeko’s Child) Is The Actor Of Kokichi Oma

Hanako Hagakure (Yasuhiro X Kanon’s Child) Is The Actress Of Himiko Yumeno

Ryū Asami Is The Actor Of Ryoma Hoshi

Yoshi Mushimura Is The Actor Of Gonta Gokuhara

Chinatsu Nanami (Chiaki Nanami’s Child)

Sué Nidai (Akane X Nekomaru’s Child)

Waotaka Hinata (Hajime X Kazuichi’s Child)

Nene Fukawa (Toko X Komaru’s Child)

Shinobu Yamada (Hifumi Yamada’s Child)

Sayuri Mitarai (Sagishi X Ryota’s Child)

Akari Hanamura (Teruteru Hanamura’s Child)

[queersrus]

HII KIRA KIRA looks at you :] persona names maybe... (feel free to choose from all games, but obviously 5 is the one I know :D)

yeye!! (nick)names from persona 5!!!

Aka, Akan, Akane, Aki, Akim, Akimi, Akimitsu, Akira, Al, Ali, Alice, Ang, Ango, An/Ann/Anne, Aoi, Ama, Amami, Amamiya, Ake, Akechi, Ara, Arai

Car, Caro, Carol, Caroli, Carolin/Carolyn, Caroline, Chi, Chiha, Chihay, Chihaya, Coach

Dem, Demi, Demiu, Demiur, Demiurge, Di, Dir/Dire, Director

En, Ena, Esc, Esca, Escar, Escargo/Escargot

Fu, Futa, Futaba, Fuji, Fujikawa

Go, Goro

Haru, Hi, Hif, Hifu, Hifumi, Has, Hase, Hasega, Hasegawa, Hi/Hii, Hiir, Hiira/Hira, Hiiragi, Hiraguchi, Hy, Hyo, Hyodo

Ichi, Ichiko, Ichiryu, Ichiryusa, Ichiryusai, Igo, Igor, Iss, Isshi, Isshiki, Ichino, Ichinose, Iwa, Iwai

Jo, Jose, Jun, Juny, Junya, Jyu, Jyun, Jul/Jule, Juli/Julie, Julia, Julian, Just, Justi, Justin, Justine

Kas, Kasu, Kasumi, Kaz, Kazu, Kazuya, Ko, Kob, Koba, Kobaya, Kobayaka, Kobayakawa, Koto, Kotone, Kumi, Kun, Kuni, Kunik, Kunika, Kunikaz, Kunikazu, Kuo, Kuon, Kiu, Kiuchi, Kita, Kitaga, Kitagawa, Kamo, Kamoshi, Kamoshida, Kawa, Kawakami, Konoe, Kage, Kageya, Kageyama, Kane, Kaneshi, Kaneshiro, Kat, Kata, Kataya, Katayama, Kabu, Kabura, Kaburagi

Lala

Mak, Mako, Makoto, Mari, Mariko, Masa, Masayo, Masayoshi, Mer, Mero, Merope, Mi, Mika, Miya, Miyako, Morg, Morga, Morgan, Morgana, Moto/Motoh, Motoha, Mune, Munehi, Munehis/Munehise, Munehisa, Mish, Mishi, Mishima, Maru, Maruki, Maki, Makigami, Mifu, Mifune, Mada, Madara, Madarame, Mon, Mont, Monta, Montag, Montagne

Nao, Naoya, Nat, Nats, Natsu/Natsuh, Natsuhi, Natsuhiko, Noge, Nii, Niiji, Niijima, Naka, Nakano, Nakanohara, Natsume

Od, Oda, Oku, Okumu, Okumura, Ohya, Owa, Owada

Pres, Presi, President

Ren, Ru, Rufe, Rufer, Ruferu, Rumi, Ry, Ryu, Ryuji

Sada, Sadayo, Sae, Sei, Seiji, Shadow, Shi, Shibu, Shibus, Shibusa, Shibusawa, Shiho, Shin, Shini, Shinichi, Shiny, Shinya, Shu, Shuz, Shuzo, Si, Siu, So, Soji, Sojiro, Soph, Sophi/Sophie/Sofi/Sofie, Sophia/Sofia, Sugi, Sugimura, Suguru, Sumi, Sumir, Sumire, Saku, Sakura, Su, Suz, Suzu, Suzui, Shira, Shirato, Shiratori, Saka, Sakamo, Sakamoto, Shido

Tae, Tak, Taku, Takuto, Tom, Tomoko, Tor, Tora, Torano, Toranosuke, Take, Takemi, Tan, Tana, Tanaka, Tsu, Tsuda, Taka, Takama, Takamaki, Togo

Ubu, Ubuka, Ubukata

Wakaba

Yu, Yuki/Yuuki, Yukimi, Yusu, Yusuke, Yuji/Yuuji, Yosh, Yoshi, Yoshida, Yoshiza, Yoshizawa

Zen, Zenki, Zenkichi

[ahogarmesll]

Taking Risks Tattoo

SYNNERGY.TAVIS//Autumn Parkway {360} Backdrop maps.secondlife.com/secondlife/Dreamer/126/169/28

YOSHI - Ana Eyelashes - maps.secondlife.com/secondlife/Full%20Throttle/223/96/1182

YOSHI - Venus Eyes -

maps.secondlife.com/secondlife/Full%20Throttle/223/96/1182

Taking Risks Tattoo

Hoodlem - Taking Risks Tattoo

[TNK x TRV] - SODA GRANADE TOKYO-ZERO-EVENT: maps.secondlife.com/secondlife/TOKYO%20ZERO/16/27/999 - TREVOR x TANAKA -

✱ COMES WITH:

8 Original Animations

10+ SFX & VFX

Flip ANimations

Throwable & Corrosive

2 Throw Force

Avatar Interactive VFX

Multi Color Explosions

10+ Soda Flavours (Fatpack)

Watermelon

Sakura

Banana

Citric Acid

Guarana

Lemon

Orange

AND MORE

[byneddiedingo]

The Face of Another (Hiroshi Teshigahara, 1966)

Cast: Tatsuya Nakadai, Machiko Kyo, Mikijiro Hira, Kyoko Kishida, Miki Irie, Eiji Okada, Minoru Chiaki, Hideo Kanzi, Kunie Tanaka. Screenplay: Kobo Abe, based on his novel. Cinematography: Hiroshi Segawa. Production design: Masao Yamazaki. Film editing: Yoshi Sugihara. Music: Toro Takemitsu.

Kobo Abe based the screenplay for The Face of Another on his own novel, and I suspect that adherence to the source weakens the film, which dwells heavily on ideas about identity and morality that are more efficiently explored in literature than in cinema. The central narrative deals with Okuyama (Tatsuya Nakadai) who, having been disfigured in an industrial accident, sees a psychiatrist (Mikijiro Hira) who devises an experimental mask that gives Okuyama an entirely new identity. Wearing the mask, Okuyama seduces his own wife (Machiko Kyo), who tells him that she knew who he was all along and assumed that he was trying to revive their marriage, which had been troubled since his accident. She is enraged when she learns that he was in fact testing her fidelity. But there is a secondary narrative about a beautiful young woman (Miki Irie) who bears scars along one side of her face that, it is suggested, are the result of exposure to radiation from the Nagasaki atomic bomb. In the novel, this story comes from a film that was seen by Okuyama, but Hiroshi Teshigahara withholds this explanation for including it without apparent connection to Okuyama's story. I'm not troubled by the disjunction this creates in the film, because Teshigahara and production designer Masao Yamazaki have developed a coherent symbolic style that creates an appropriate air of mystery throughout The Face of Another. The weakness lies, I think, in the dialogue, especially in the too didactic exchanges between Okuyama and the psychiatrist about the limits and potential of a mutating identity. Nevertheless, it's a fascinating, flawed film, more disturbing than most outright "horror" movies.

[portorfeitansimp]

Hey guys, I'm new here, so I'm gonna explain what I'll do here.

So here, I'll do some characters x Reader, OC x Reader, and maybe some small fanfictions.

The fandom I'm in for now is just Danganronpa, especially the fangames, but you can ask character from all the ones I know, which are :

Danganronpa : Trigger Happy Havoc

Super Danganronpa 2 : Goodbye Despair

Danganronpa V3 : Killing Harmony

Danganronpa 3 : The end of Kibôgamine Gakuen

Danganronpa Another Despair Academy

Super Danganronpa Another 2

Danganronpa Another Episode : Ultra Despair Girl

The only characters I won't do are Monokuma, Monomi/Usami, Monotaro, Monosuke, Monokid, Monodam, Monophanie, Kurokuma, Shirokuma and Monocrow.

You can ask me for anything, like lemon or stuff like that. Also, if you don't say the gender of the Reader, I'll use the neutral gender. And if you want something in particular, like a yandere or tsundere or other dere character or something else, please precise it when asking.

As for the OC x Reader, I won't do all of my OC (mostly because I have a lot of OC), so here's the list of the OC I will do :

Éden Nevermind

Chelsea Soda

Hikaru Tanaka

Aéline Harukawa

Vanessa Momota

Daisuke Atashi

Erwina Chiebukuro

Marc Chiebukuro

Ashley Maeda

Camille Magorobi

Hunter Makunochi

Tsubasa Mitsume

Ilona Nijiue

Ryo Nijiue

Lorena Nijiue

Jannessa Sannoji

Aurora Suka

Lorenzo Suka

Travis Taira

Yoshie Yomiuri

Katashi Iranami

Arata Kobashikawa

Maïa Kobashikawa

Caleb Dhunn

Dai Hatame and Conrad Kamukura

Alexandra Hills

Jessica Mayday

Karen Otori

Naoki Otori

Auriana Scott

Vladimir Shein

Bona Sinclair and Akako Kamukura

Bianca ???

Ryoko Drin

Wakuko Hatari

Yumeko Sean

Okabane

I will introduce them one by one, don't worry.

Also, I'm french, so I'm sorry if my english isn't so good. And if there's french people here too, you can ask me to write in french if you want.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Hey tout le monde, je suis nouvelle ici, donc je vais vous expliquer ce que je vais faire ici.

Donc ici, je vais faire quelques personnages x Reader, OC x Reader, et peut-être quelques petites fanfictions.

Le fandom dans lequel je suis pour l'instant est juste Danganronpa, en particulier les fangames, mais vous pouvez demander des personnages de tous ceux que je connais, qui sont :

Danganronpa : Trigger Happy Havoc

Super Danganronpa 2 : Goodbye Despair

Danganronpa V3 : Killing Harmony

Danganronpa 3 : The end of Kibôgamine Gakuen

Danganronpa Another Despair Academy

Super Danganronpa Another 2

Danganronpa Another Episode : Ultra Despair Girl

Les seuls personnages que je ne ferai pas sont Monokuma, Monomi/Usami, Monotaro, Monosuke, Monokid, Monodam, Monophanie, Kurokuma, Shirokuma et Monocrow.

Vous pouvez me demander n'importe quoi, comme du clemon ou des trucs comme ça. De plus, si vous ne dites pas le sexe du Reader, j'utiliserai le genre neutre. Et si vous voulez quelque chose en particulier, comme un yandere ou un tsundere ou un autre personnage dere ou autre chose, merci de le préciser lors de la demande.

Quant aux OC x Reader, je ne ferais pas tous mes OC (surtout parce que j'ai beaucoup d'OC), alors voici la liste des OC que je ferai :

Éden Nevermind

Chelsea Soda

Hikaru Tanaka

Aéline Harukawa

Vanessa Momota

Daisuke Atashi

Erwina Chiebukuro

Marc Chiebukuro

Ashley Maeda

Camille Magorobi

Hunter Makunochi

Tsubasa Mitsume

Ilona Nijiue

Ryo Nijiue

Lorena Nijiue

Jannessa Sannoji

Aurora Suka

Lorenzo Suka

Travis Taira

Yoshie Yomiuri

Katashi Iranami

Arata Kobashikawa

Maïa Kobashikawa

Caleb Dhunn

Dai Hatame et Conrad Kamukura

Alexandra Hills

Jessica Mayday

Karen Otori

Naoki Otori

Auriana Scott

Vladimir Shein

Bona Sinclair et Akako Kamukura

Bianca ???

Ryoko Drin

Wakuko Hatari

Yumeko Sean

Okabane

Je les présenterais un par un, ne vous en faites pas.

Aussi, je suis française, donc je suis désolée si mon anglais n'est pas très bon. Et s'il y a des français ici aussi, vous pouvez me demander d'écrire en français si vous voulez.

[musicalueion]

[OST] Super Smash Bros. Melee [2001]

Artists: Hirokazu Ando, Shogo Sakai, Tadashi Ikegami, Takuto Kitsuta

Length: 2h 42m 54s

Original Composers: Koji Kondo[1,2,3,4,7,8,15,20,31,32,33,36,37,38,39,52], Grant Kirkhope[5], David Wise[6,53], Hirokazu Tanaka[9,10,11,12,13,27,28,29,30,50,51,54], Kazumi Totaka[14], Jun Ishikawa[16,17,18,55], Hajime Hirasawa[19], Junichi Masuda[21,22,23,24,40,41,42], Yumiko Kanki[25], Naoto Ishida[26], Keiichi Suzuki[27,28,29,30,49], Akito Nakatsuka[34,35,57], Yuka Tsujiyoko[43,44], Hideki Kanazashi[45,46,47,48], Taro Bando[56]

Original Works:

Super Mario Bros. - Overworld

Super Mario Bros. - Underground

Super Mario 64 - Slider

Super Mario Bros. - Underwater

Donkey Kong 64 - DK Rap

Donkey Kong Country - DK Island Swing

The Legend of Zelda - Overworld

Zelda II: The Adventure of Link - Great Temple

Metroid - Brinstar

Metroid - Samus Intro

Metroid - Title Theme

Metroid - Brinstar Depths

Metroid - Item Room

Yoshi's Story - Yoshi's Song

Super Mario World - Athletic

Kirby Super Star - Run, Kirby, Run!

Kirby Super Star -Kirby's Triumphant Return

Kirby's Dream Land - Green Greens

Star Fox - Venom

Star Fox 64 - Main Theme

Pokémon Red Version / Pokémon Blue Version - Opening

Pokémon Red Version / Pokémon Blue Version - Battle! (Trainer)

Pokémon Red Version / Pokémon Blue Version - Battle! (Gym Leader)

Pokémon Red Version / Pokémon Blue Version - Battle! (Wild Pokémon)

F-Zero - Mute City

F-Zero - Big Blue

EarthBound Beginnings - Bein' Friends

EarthBound Beginnings - Eight Melodies

EarthBound - The Metropolis of Fourside

EarthBound - Because I Love You

Super Mario Bros. - Overworld (Hurry Up!)

Super Mario Bros. 2 - Overworld

Super Mario Bros. 2 - Boss

Ice Climber - Stage Theme

Ice Climber - Bonus Stage

Super Mario Bros. 3 - Overworld

Super Mario Bros. 3 - Grass Land

The Legend of Zelda: Ocarina of Time - Saria's Song

The Legend of Zelda: Ocarina of Time - Lost Woods

Pokémon Gold Version / Pokémon Silver Version - Battle! (Wild Pokémon)

Pokémon Gold Version / Pokémon Silver Version - Battle! (Gym Leader)

Pokémon Gold Version / Pokémon Silver Version - Battle! (Champion)

Fire Emblem: Shadow Dragon and the Blade of Light - Meeting Theme

Fire Emblem: Shadow Dragon and the Blade of Light - Main Theme

Mach Rider - Title Theme

Mach Rider - Course Theme

Mach Rider - Course Select

Mach Rider - Game Over

EarthBound Beginnings - Pollyanna (I Believe in You)

Dr. Mario - Fever

Balloon Fight - Balloon Trip

Super Mario Bros. - Level Complete

Donkey Kong Country - Level Goal

Metroid - Item Acquired

Kirby's Dream Land - Dance

F-Zero X - Goal Fanfare

Ice Climber - Bonus Complete

Super Smash Bros. Melee is available to play on:

GameCube

Wii

[623duck]

2023.05.20

ドキュメンタリー映画『世界で戦うフィルムたち』

本日より、池袋シネマ・ロサにて劇場公開です。 そのほかの劇場は順次公開してまいりますので、続報をお楽しみに。 ーー Documentary film "The Night Before Upheaval"

The film will open today at the Ikebukuro Cinema Rosa. Other theaters will follow in due course, so please look forward to further updates.

【あらすじ】

世界に向けて挑戦を続ける若手映画監督・亀山睦木が、日本映画の未来を模索した実録ドキュメンタリー。

亀山監督は自身の監督作「12ヶ月��カイ」を110以上もの海外の映画祭に応募し、現地の声を聞くためアメリカからヨーロッパまで足を運んだ。その道のりを追い、キャストやスタッフの思いを込めた作品を1人でも多くの観客に観てもらうべく奮闘する亀山監督の姿を映し出す。

さらに亀山監督は、日本を代表する俳優・寺島しのぶ、ハリウッド作品も手がける清水崇監督や北村龍平監督ら映画関係者にインタビューを敢行。世界で活躍する日本人の経験や、若手監督・俳優のリアルな苦悩が本人たちの言葉で語られる。 ーー 【STORY】 This is a true-life documentary by Mutsuki Kameyama, a young film director who continues to challenge the world, in search of the future of the Japanese film industry.

Kameyama submitted their film "12 Months of KAI" to over 110 overseas film festivals, and traveled from the U.S. to Europe to hear the voices of local audiences. The film follows Kameyama's journey and their struggle to get as many viewers as possible to see their film, which is filled with the thoughts and feelings of the cast and crew.

They also interviewed leading Japanese actor Shinobu Terajima, as well as directors Takashi Shimizu and Ryuhei Kitamura, who have also worked on Hollywood productions, and others involved in the film industry. In their own words, they speak of the experiences of Japanese filmmakers working around the world and the real-life struggles of young directors and actors.

【出演】

北村龍平 谷垣健治 清水崇 深田晃司 片山慎三 祐真キキ / 寺島しのぶ 松本卓也 宇賀那健一 戸田彬弘 野本梢 加藤綾佳 石橋夕帆 田中大貴 皆川暢二 中屋柚香 中垣内彩加 工藤孝生 岡田深 大石菊華 今村左悶 カン・ハンナ Michael A Stackpole Neilson Black Louis Savy 掛尾良夫 矢田部吉彦

【スタッフ】

監督：亀山睦木 企画 : noadd プロデューサー : 浦野大輔 吉野匡志 鈴木遥 山田百合菜 アソシエイトプロデューサー : 吉丸佳予子 音楽 : 今村左悶 イラスト : カタ���キコ キャスティング : 本間祐樹 ( スカリー ) 神原健太朗 門田治子　 ヘアメイク : 清水彩美 光倉カオル (dynamic 所属) スタイリスト : 中井綾子 (crepe 所属) モーショングラフィック: 小野越生 整音・音響効果 : 松野泉 製作・配給 :ノアド株式会社　 助成 : 文化庁「ARTS for the future! 」補助対象事業 ーー 【Interviewee】

Ryuhei Kitamura, Kenji Tanigaki, Takashi Shimizu, Koji Fukada Shinzo Katayama, Kiki Sukezane / Shinobu Terajima Takuya Matsumoto, Kenichi Ugana, Akihiro Toda, Kozue Nomoto Ayaka Kato, Yuho Ishibashi, Daiki Tanaka, Youji Minagawa Yuzuka Nakaya, Ayaka Nakagochi, Kosei Kudo, Jin Okada Kikka Oiwa, Samon Imamura, Kang Hanna Michael A Stackpole, Neilson Black, Louis Savy, Yoshio Kakeo, Yoshi Yatabe

【Staff】

Director：Mutsuki Kameyama Producer : Daisuke Urano, Tadashi Yoshino, Haruka Suzuki, Yurina Yamada Associate Producer : Kayoko Yoshimaru Music : Samon Imamura Illustlation : Yukiko Kata Casting : Yuki Honma (SKALY), Kentaro Kanbara, Haruko Monda　 Hair and Make : Ayami Shimizu, Kaoru Mitsukura(dynamic) Stylist : Ayako Nakai(crepe) Motion Graphic : Essei Ono Sound Design & Effects : Izumi Matsuno Produce & Distribution : noadd Inc. Supported by Agency for Cultural Affairs「ARTS for the future! 」

[chanoyu-to-wa]

Nampō Roku, Book 7 (76):  the Flowers and the Hanaire.

76) In the case of a meibutsu-hanaire -- or a hanaire that, while not [technically] meibutsu, is still treasured [by the host] -- the flowers should surely be handled in such a way that they seem a little sparse¹.

￮ [You] should understand that the flowers should always be appropriate for the hanaire [in which they are arranged]².

_________________________

◎ Though this entry consists of only two sentences, there is no obvious connection between the two -- other than that they are both concerned with the flowers and the hanaire.

    Even though this entry is so short, there are still several different versions of it found across the various Nampō Roku sources.  In addition to Shibayama’s toku-shu shahon version (which, as usual, adds some additional material that helps to expand upon or illuminate the meaning), Tanaka’s genpon text reworks the toku-shu shahon material into a partially-new narrative that the chajin of the Edo period would have found more useful in the practice of their own chanoyu.

    Because the genpon version is so different from the others, it will be covered separately, in an appendix that will be found at the end of this post.  Shibayama’s version will, as usual, be discussed in the footnotes under the main translation.

¹Meibutsu no hanaire, sa-nakute mo shōgan no hanaire ni ha, hana ha ika ni mo sukoshi sabite ashiraite yoshi　[名物ノ花入、サナクテモ賞翫ノ花入ニハ、花ハイカニモ少サヒテアシライテヨシ].

    Meibutsu no hanaire [名物の花入]:  a meibutsu-hanaire is generally one that was treasured, or declared to be such (if it had not been discovered by himself), by one of the great chajin of the past -- people like Yoshimasa and the early generations of expatriate chajin who began to arrive in Japan during the fifteenth century.  No matter how much you might love and treasure one of your own pieces, you do not have the capacity to make it meibutsu.

    Sa-nakute mo shōgan no hanaire [差なくても賞翫の花入]]:  sa-nakute mo [差なくても] means as for the rest (of the hanaire) that are not (meibutsu); shōgan no hanaire [賞翫の花入] means a hanaire that is treasured (by the host).

    Hana ha ika ni mo sukoshi sabite ashiraite yoshi [花は如何にも少し寂びて遇いてよし]:  ika ni mo [如何にも] means to be sure, certainly, really; sukoshi sabite ashiraite [少し寂びて遇いて] means (the flowers) should be handled in such a way that they seem a little lonely*.

    In other words, when using a treasured hanaire -- whether it is a meibutsu piece or simply one that is cherished by the host for whatever reason -- it is best to use fewer flowers than would ordinarily be the case.  The point is that a complicated arrangement will not only conceal, but also detract from the hanaire.  By using just a few flowers, the hanaire will neither be overpowered by their beauty, nor obscured by them physically.

   Shibayama Fugen’s toku-shu shahon records this text as meibutsu no hanaire, sa-naku tomo shōgan no hanaire ni ha, saku-sha wo shō-shite, hana ha ika ni mo sukunaku sabite ashiraite yoshi [名物ノ花入、サナク共賞翫ノ花入ニハ、作者ヲ賞シテ、花ハイカニモ少クサヒテアシラヒテヨシ].

    While essentially the same, this version adds the phrase saku-sha wo shō-shite, which means (a hanaire) that is treasured by the person who made it -- as another category of hanaire that should be handled in the way described here.

    This phrase seems to be referring to take-zutsu [竹筒] (hanaire made from lengths of bamboo), such as the ichi-jū-giri [一重切], since these were the most common hanaire to be handmade by chajin for their own use. __________ *Sabite [寂びて], which literally means lonely or forlorn, here means that the flowers should appear to be less than sufficient (according to the tastes of the time).  This is why I chose to translate sabite as sparse.

    The term sabi [寂び], and its various grammatical forms, became associated with chanoyu through Sōtan, who used it to describe a (positive) aesthetic of calculated rustic minimalism.  This indicates that this entry was written around the middle of the seventeenth century, or after.

²Hanaire ni sō-ō-suru hana kokoro-e-beshi　[花入ニ相應スル花心得ヘシ].

    Hanaire ni sō-ō-suru hana [花入に相応する花心得べし] means flowers that are suitable for the hanaire.

    This is referring to an Edo period teaching that divided both hanaire and flowers into the traditional categories of shin [眞], gyō [行], and sō [草].  As nothing like this was ever seen prior to the Edo period -- particularly in so far as the flowers were concerned -- this is another detail that informs us that we are dealing with an Edo period addition to the collection.

    Rikyū, for his part, combined his flowers with his hanaire in ways that would likely frustrate many modern-day chajin -- since his rationale was always what looked best, rather than what conformed to the rules (most of which had not even been articulated in his day).

    If a detailed list of which hanaire -- and which flowers -- are to be considered shin, or gyō, or sō, it is recommended that the reader apply to one of the authorities in the school with which they are affiliated, since these things differ, often radically, from school to school...so any list that would satisfy the members of one would likely displease, if not infuriate, the members of another.

    About this entry, Shibayama Fugen wrote:

Hanami ni sugi, moshiku ha hō-fu ni hairureba, ka-ki wo oshite sono sakae nakarashi muru ni itaru yue ni, ka-ki wo sakae sen to hosseba, hana ha karuku ikezaru-bekarazu, tada ni keiki nomi narazu, sono utsuwa ni ōzuru shiki-sai kei-jō wo mo sen-taku subeki wo ieru nari.

Kore hitori ka-ki nomi narazu, sho-gu mina shikaru nari, ka no hon-roku 1 (13) ni iu tokoro no "tō no chaire ni imayaki chawan iu-iu" mo mina sono omoki mono wo sakae arashimen to ni soto narazu.

[花美ニ過ギ、若シクハ豊富ニ入ルレバ、花器ヲ壓シテ其栄ナカラシムルニ至ル故ニ、花器ヲ栄セント欲セバ、花ハ軽ク生ケザル可ラズ、啻ニ軽キノミナラズ、其器ニ應ズル色彩形状ヲモ撰擇スベキヲ云ヘルナリ。

[是特リ花器ノミナラズ、諸具皆然ルナリ、彼ノ本録一(一三)ニ云フ所ノ「唐ノ茶入ニ今焼茶碗云々」モ皆其ノ重キ者ヲ栄アラシメントニ外ナラズ。]

    This means “if the flowers are too beautiful or plentiful, they will overwhelm the vase and diminish its glory.  So if you want the vase to be seen at its best, you must arrange the flowers lightly.  It can also be argued that the color and shape [of the flowers] should be chosen according to the vase.

    “This is true not only with respect to vases, but also of all the utensils.  As it says in Book One (entry 13), ‘kara-no-chaire, modern tea bowls....’:  it is certainly true that everything [else] should be carefully selected in order to enhance [the presentation of] the important utensil.”

    The cited passage from Book One reads:

    With respect to the utensils for the small room, it is better if everything is [somewhat] lacking.  There are people who detest things that are even slightly damaged, [but] this [kind of attitude] is completely unacceptable.

    In the case of newly-fired [pieces of pottery] and objects of that sort³, if they have developed cracks, they are difficult to use.  But things like imported chaire and other ‘proper’ utensils, when they have been repaired with lacquer, can still be used in the future.

    Besides this, when [we] speak of the way to combine the utensils:  a recently fired chawan [used together with] an imported chaire -- [you] must know how to do [things] like this.

    In Shukō's period, even though the things [used for chanoyu] were still splendid at that time, he put his treasured ido-chawan into a fukuro, handling it just like a temmoku; and [he] initiated the practice of always bringing out a natsume, or a recently-made chaire, together with it.

    The annotated version of the text, together with its footnotes and commentary, may be found in the post entitled Nampō Roku, Book 1 (17):  the Utensils for the Small Room.  The URL for that post is:

http://chanoyu-to-wa.tumblr.com/post/175662294463/namp%C5%8D-roku-book-1-17-the-utensils-for-the

    Note that, because Shibayama’s teihon [底本] was divided into sections differently, the number of the entry in his source does not agree with the number found in this translation.  Certain details of the entry in question, as it is found in the Enkaku-ji manuscript, also suggest that it was, at least in part, modified during the Edo period -- since certain details that it describes are anachronistic (reflecting Edo period attitudes rather than those of Shukō’s period).

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❖ Appendix:  the Genpon Version of Entry 76.

    In the case of a meibutsu-hanaire -- or, while not [a meibutsu], one that is still a treasured hanaire -- if it was one that had been treasured by its maker, on occasions such as when it is being used for the first time, the rule is that fewer flowers should be put in [than usual]³.

_________________________

³Meibutsu no hanaire, sa-nakute mo shōgan no hanaire aru-koto ha, saku-sha wo shō-shite, hanaire-biraki nado, hana sukunaku-iru hō nari　[名物ノ花入、サナク���モ賞翫ノ花入アル事ハ、作者ヲ賞テ、花入ビラキナド、花少ク入ル法也].

    Saku-sha wo shō-shite [作者を賞して] means (a hanaire) that was treasured by the chajin who made it.

    This suggests that the author is referring specifically to bamboo hanaire, such as the ichi-jū-giri [一重切] or take-zutsu [竹筒] (shakuhachi-giri [尺八切]) sorts.  Nothing of the sort was ever implied by the Enkaku-ji version of the text, however.

    Hanaire-biraki nado [花入披き]:  hanaire-biraki [花入披き]* means either the first time that the hanaire is used, or the first time it is being used by its current owner (who is presumed to be the host)†.  Hanaire-biraki nado [花入披きなど] means on occasions such as the first time the hanaire is being used, and the like -- that is, on occasions when, for whatever reason, the host wishes to draw attention to the hanaire‡.

    Hana sukunaku-iru hō nari [花少く入る法なり]:  now the idea that the flowers should appear to be “a little lonely” (sabite [寂びて]) has been clarified into the more literal “fewer” or “insufficient” (sununaku [少く]), and elevated to the status of a law (hō nari [法なり]) -- both of which would have been better appreciated by the chajin of the Edo period than what we find in the original Enkaku-ji text. __________ *Today it is usually written hanaire-biraki [花入開き].  Both forms mean the same thing -- the “opening,” which is to say the first use, of the flower vase.

†The text is ambiguous.  The meaning could be that the hanaire turned out to be so perfect (in the estimation of the chajin who made it), that he is following this rule the first time he uses it.  Or that, because the maker so deeply admired his own creation, the subsequent owner should use it this way on the first occasion when it is shown in his tearoom.

    While something that would have been of concern to the chajin of the Edo period, this is really all irrelevant to the original text, since, in Jōō’s and Rikyū’s period the only pieces to which this entry could have applied were imported hanaire (all of which were either bronze or ceramic), or the rare locally potted pieces.  Bamboo hanaire, even those made by renowned chajin such as Rikyū, were treated as disposable -- since they were (usually) discarded once the bamboo began to be discolored by mold or water stains.

‡The formula for such gatherings would be that the host displays the hanaire (without water or flowers) in the toko -- usually on the floor, sometimes resting on a tray, sometimes tied into its shifuku, and sometimes even accompanied by its box (or the lid of the box, in order to display its hako-gaki [箱書]), depending on the host (and the teachings of the school with which he is affiliated) -- during the shoza; then it is arranged properly (either suspended from a hook affixed to the back wall, or placed in the middle of the floor of the toko on an usu-ita), with water and flowers in it, during the goza.

    On this genpon version of the text, Tanaka Senshō wrote:

Migi no gotoku de aru to, hanaire no saku-sha ni tai-shite, isasaka kei-i wo arawashite, hanaire wo hajimete shiyō-suru hanaire-biraki no toki nado mo, mina-bana wo sukoshi-ireru ga hō de aru to no i de aru.

Yo ha aru-toki, meibutsu no kago-hanaike wo toko ni kazari, hana-shomō wo uketa-koto ga atta. Tadachi ni kono mon-ku ga atama ni pin to hibiita yue, itatte kei-shō ni irete, teishu ni o-naoshi wo tote, fusoku no bun no soe-bana wo kōta ga, teishu ha tada mizu wo sosoi de ka-dai wo hiita-koto ga aru. Ka no gotoki toki ni, jibun no hana no ude wo mise-yō nado omotte ha naranu.

[右の如くであると、花入の作者に対して、聊か敬意を表して、花入を始めて使用する花入披きの時なども、皆花を少し入れるが法であるとの意である。

[予はある時、名物の籠花生を床にかざり、花所望を受けたことがあった。直ちにこの文句が頭にピンと響いたゆえ、至って軽少に入れて、亭主にお直しをとて、不足の分の添え花を乞うたが、亭主は只水を注いで花台を引いたことがある。かの如き時に、自分の花の腕を見せようなど思ってはならぬ。]

    “As [we read] on the right, to show respect to the creator of the hanaire, when using the vase for the first time on an occasion when [the host] indicates it is the hanaire-biraki [花入披き], or something like that,  it is the rule that the flowers should be added sparely.

    “On a certain occasion when [I was] participating [in a gathering], [the host] displayed a meibutsu basket hanaike [花生] in the toko, with the request that [I] arrange the flowers [during the naka-dachi, before the others had returned to the room].  Because the text of this entry suddenly began to reverberate through my mind, I arranged the flowers very lightly and sparely.

    “Asking the host to repair it [to his satisfaction], [I] begged him to add more flowers to make up for the deficiency; but the host simply added water, and then lifted [the arrangement] up onto the flower stand.

    “On occasions such as this, one should not even think about showing off one’s flower-arranging skills.”

    It might be good to mention that, far from the regimented minimalism seen in modern-day chabana, over the course of the Edo period these arrangements, too, had became increasingly stylized according to the tenets of the various schools of ikebana (specifically, their so-called nage-ire [投げ入れ] type of arrangement, which was a mechanical description of the way that chabana were always supposed to be created).  Indeed, at least several of the schools that have survived into the present actually derived from the teachings of the prominent chajin of the early-to-middle Edo period.  It was only in the 20th century that the tea schools began to actively distance themselves both from the practice of flower arrangement, and from the rule-based arrangements that were taught by those schools -- previously, the same town teacher who provided lessons in chanoyu to the local community also taught them ikebana.  It is in light of all of this history (in which he most certainly was a participant) that Tanaka’s remarks should be understood.

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[somerandom-person1]

Prologue Sabaho Akaashi

“TANAKA!!” I yelled as I ran around the corner holding onto my phone and my cat in my hands running away from the many girls chasing after me. “Where is he!?” I yelled into my phone with Noya on the other side.

“I DON'T KNOW AS MUCH AS YOU DO!” He yelled back at me.

“Sabaho-san!” Screamed the girls.

“WAIT HOW DID YOU GET GIRLS ON YOUR TAIL!? NO FAIR!” Noya yelled at me. I groaned as I took a sharp turn around the corner and through my buddy's shop and to the back.

“If he didn't let my Yoshi out we would be fine,” I told him panting. I looked up and saw freshmen girls looking at me.

That's when one girl yelled, “It's Sabaho-san!” I started to run but got picked up by a large kid with a buzz cut.

“Oh, it's only you,” I said looking at Tanaka.

“I'm sorry about Yoshi but at least I got you over my shoulder away from those girls.” After a few minutes, we busted into my house with my brother sitting on our dining table with many papers set all over the place and with his glasses on. “Hey Akaashi we got your cat back,” Tanaka reassured him while setting me down. I walked to my room holding Yoshi and set him down. I opened my door and looked into my pet beauty rat snake, Elaphe. I opened the little door at the top and put my hand in and I saw his light blue head peek out and slither over and wrap up and around my arm being gentle. I lifted my hand up and walked out with him looking and Noya almost tackling Tanaka. He hissed at them and they immediately stopped and Elaphe slither up onto my shoulders. I pulled out a rat for him to eat while he was up there.

“Look at these,” Akaashi said, walking next to me and putting three letters in front of me. My eyes widen and I grabbed the letters and hopped on the counter and quickly opened the first one.

“What are those?” Noya asked walking towards me.

“It's the letter I sent to Karasuno,” I told him

“Wait really!? I hope you get in! Because Im going next year for high school!” He yelled excitedly.

I quickly tried to find the part if I got accepted or not.

“Why are there three letters?” Noya asked again

“He tried to get into three schools. Karasuno, Fukurodani, and Nekoma.” Akaashi told them.

“Oh. I'm glad I have at least a year to worry about that. But I wanna go to high school with guys at the same time! Not fair I have only one year left of middle school.” Noya winded.

“Damn it!” I yelled throwing the letter crumbling it up and going to the next letter.

“Didn't get accepted?” Tanaka asked.

I nodded and started to read the one from Fukurodani. “Damn!” I cried crumbling it up and grabbing the one from Nekoma. I quickly read it. “Akash hand me your glasses,” I told him. He handed me his glasses and I put them on and read closer. I gave back his glasses and laid my back on the counter.

“Wait did you not get accepted?” Noya asked

“No I did but I won't be able to go to school with either Tanaka or Akash and I won't know anyone.” I sighed

“But Nekoma is one of the best boy's volleyball team. I know you have been dying to play.” Akaashi reassured me while pulling my arm and getting me off the counter.

“Well I gotta go now,” Tanaka said. “I have to leave at 3 in the morning for a plane ride for summer.”

“Same,” Noya said garbing his bag.

“Kay bye guys have a good summer.” I said waving as they left.

Once summer started I went to a boy's volleyball camp with Akaashi and we learned a lot. And after all the months of summer, it was the first day of High school at Nekoma. When I first arrived at the school I was amazed at what it was like. I put my blazer on and my backpack on my back and waved goodbye to Akaashi. I looked around and saw a familiar face or should I say hair.

“Kurro! Hey Kurro its me Sabaho!”

This is a story about my Haikyuu OC Sabaho Akaashi. If you wanna know more about him I have some stuff about him I will pin.