#yuta nakayama

[keikotwins]

Mokumokuren

Birds of different feathers flock together

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

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

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

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

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

And how was this “obsession” born?

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

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

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

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

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

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

Did you read horror mangas when you were young?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Did you want to do chara-design?

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

So you’re a gamer…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[aniketdelmundo]

ROAD TO GLORY

FC Machida Zelvia of Japan are currently leading the J1 league after matchweek 27. The newly promoted club has exceeded all expectations, perhaps not even the most optimistic supporter of the club would have expected them to be title contenders in their very first season in the top flight.

Young sharpshooters like Shota Fujio and Se-hun Oh along with Australian international Mitchell Duke have been firing engines in J1 league 2024. Meanwhile Junya Suzuki, Kosei Tani, Gen Shoji and Ibrahim Drešević have been rock solid in defence and of course due credit to Go Kuroda for Machida's incredible run. The club bolstered their squad in the summer transfer window by signing players like Yoshiaki Arai, Yuta Nakayama, Ryohei Shirasaki and Yuki Soma. Even after loaning their highest assist provider: Yu Hirakawa to Bristol City, Machida doesn't seem to slow down in their conquest for the league title.

They have acquired 53 points from 27 games, having won 16, drawing 5 and losing 6 of them. They are closely followed by Sanfreece Hiroshima, Kashima Antlers, Gamba Osaka and the defending champions Vissel Kobe who are placed accordingly on the league table.

It will surely be a test of nerves and grit for FC Machida Zelvia as we slowly arrive towards the business end of the season. Can they do the impossible and lift the J1 title in their first season in Japan's top flight‽

[trangtongbong88]

Danh sách đội tuyển Nhật Bản dự Asian Cup 2023

Thủ môn (3): Zion Suzuki (Sint-Truidense), Daiya Maekawa (Vissel Kobe), Taishi Brandon Nozawa (FC Tokyo)

Hậu vệ (9): Takehiro Tomiyasu (Arsenal), Shogo Taniguchi (Al-Rayyan), Ko Itakura (Borussia Monchengladbach), Yuta Nakayama (Huddersfield Town), Hiroki Ito (VfB Stuttgart), Yukinari Sugawara (AZ Alkmaar), Koki Machida (Union SG), Seiya Maikuma (Cerezo Osaka), Tsuyoshi Watanabe (Gent)

Tiền vệ (10): Wataru Endo (Liverpool), Takumi Minamino (Monaco), Junya Ito, Keito Nakamura (Reims), Ritsu Doan (SC Freiburg), Takefusa Kubo (Real Sociedad), Hidemasa Morita (Sporting CP), Kaoru Mitoma (Brighton & Hove Albion), Reo Hatate (Celtic), Kaishu Sano (Kashima Antlers)

#trangtongbong88 #tongbong88 #dailybong88 #bong88 #nhacaibong88 #bong88vietnam

[nhacaitangtienvip]

Soi kèo bóng đá Stoke City vs Huddersfield, 2h45 ngày 16/2/2023

Soi kèo bóng đá Stoke City vs Huddersfield, 2h45 ngày 16/2/2023 tại nhà cái tặng tiền miễn phí. Dự đoán tỷ số bóng đá giữa Mercredi, pour le choc de Championnat, Huddersfield se rendra au stade de son, Stoke City, qui l’accueillera sur ses terres.

Tham khảo ý kiến ​​của chúng tôi về các số liệu thống kê, số liệu thống kê và các bản nhạc tiên phong của trận đấu giữa Stoke City - Huddersfield (ainsi que les meilleures cotes).

Stoke City sẽ chuẩn bị cho trận đấu thứ 2 sau khi tham gia trận đấu với Hull City ở Championnat nhưng cuối cùng họ sẽ kết thúc với tỷ số 0-0.

Trong cuộc đối đầu tiên phong, Stoke City đã xác nhận quyền sở hữu bóng 55% và 5 giờ nhưng không có 2 cadrés. En face, Hull City, obtenu 9 dự kiến de tir au but not 3 cadrés.

Au cours de ses 6 duels prerécents, Stoke City, sous la direction of Alex Neil, đoàn kịch chemin des filets 11 fois au total, ce qui représente une moyenne de 1.83 buts par rentre.

Tháng tư sau trận thua của con trai dernier đối đầu trực tiếp với Wigan Athletic tại Championnat, Huddersfield đặc biệt là người sáng tạo hơn một chút uy tín của meilleure cette fois-ci.

Trong cuộc đối đầu tiên tiến, Huddersfield đã đăng ký sở hữu bóng ba tỷ lệ 47% và 5 lần dự kiến nhưng không có 2 cadrés. Dans le camp bất lợi, Wigan Athletic, eu 6 tirs au but not 1 cadré. Jack Whatmough (81') vào lưới Wigan Athletic.

Les statistiques ne mentent pas et a encaissé lors de 6 de ses 6 derniers dues, en ayant permis à ses adversaires de mettre 10 but en tout. À l’arrière, Huddersfield một montré ses faiblesses. Những người tham dự nói rằng xu hướng của họ và xác thực sẽ được đổ vào ici.

Si on jette un oeil à leurs rencontres précédentes, en allant jusqu'au 01/01/2020, on s'aperçoit que Stoke City a gagné 3 fois au cours de ces Matchs, Huddersfield đăng ký 1 succès et le nombre de partages était de 2.

Énormément de buts ont été marqués durant ces Matches avec 25 en tout, ce qui représente une moyenne de 4.17 buts par rencontre.

En Championnat, la dernière rencontre entre ces deux club a eu lieu lors de la 3ème journée de Championnat le 13/08/2022. Một trận đấu đáng nhớ nhất của tỷ số Huddersfield Town 3-1 Stoke City.

Ở trận đấu cuối cùng, Huddersfield liên quan đến việc sở hữu bóng với tỷ lệ 42% và 9 lần dự kiến nhưng trung bình là 5 cán bộ. Các quản gia bao gồm Yuta Nakayama (40'), Danny Ward (77') và Jordan Rhodes (86').

De l’autre coté, Stoke City avait eu 18 dự kiến ​​de tir au but avec 5 cadrés. Lewis Baker (56') xuất sắc.

Matt Donohue était l’arbitre du match.

À l'approche de cette rencontre Alex Neil, le manager de Stoke City, n'a aucun souci à se faire en ce qui quan tâm đến điều kiện cơ thể ses joueurs puisqu'il présente une équipe complètement en forme.

Le manager de Huddersfield, Narcís Pèlach, a dû écarter pas mal de joeurs. Yuta Nakayama và Lee Nicholls ne seront pas présents sur le địa hình.

Vào thời điểm mà Huddersfield đến chắc chắn sẽ có hiệu lực đối lập với thương hiệu nếu thành phố Stoke City, họ sẽ nhận được giấy thông hành. Trên pronostique donc une Cuộc đối đầu très serrée et une victoire sur le ratio de 2-1 pour Stoke City au terme de la rencontre. Espérons que ce soit un beau match.

Xem thêm: đá gà trực tiếp Thomo mới nhất hôm nay

[calciopics]

Japan World Cup squad 2022: Final list of 26 players for national team in Qatar

[aoihono96]

A quick sneak peek before the visual release of the characters from the stage play Aoyama Operetta that will take place next year. All I have to say is...AAAAAAAAAAA!!!!

Nagae Ryouki as Miyajima Asahi

Oohira Shunya as Yachi Kirihisa

Aoyama Operetta is about an all boys theaters (the opposite of Takarazuka Revue - the all female theater) in which a new team is formed. Team Nova. The members of this team enter Aoyama through audition. Most of them have experience performing on stage, but Miyajima Asahi  is a complete amateur that only like to sing...yet miraculously he is accepted at Aoyama. You can follow the audio drama for free here. The actors on the stage will the the same ones that give voices to the characters. Alongside the mentioned Nagae Ryoki and Oohira Shuya there will be: Nakayama Yuuki as Sai Takao Oosumi Yuuta as Sakurai Noe Yabe Masaki as Nagae Kaguya Tomotsune Yuuki as Kagami Shouta I can’t wait for the full visual <3

If someone is watching it right now, let me know your opinion about it in the comment section or in private~~ I’m really curious.

[margridarnauds]

 endless musical gifsets [3/∞] - Lady Bess

[crazyasianlove]

Donten ni Warau (JM, 2018) (Sub. Esp)

DESCARGAR O VER ONLINE AQUÍ

Título: Donten ni Warau También conocida como: Laughing Under the Clouds (Riendo Bajo las Nubes) País: Japón Género: Fantasía, acción Duración: 94 min. Fecha de estreno: 21 de marzo, 2018 Dirección: Motohiro Katsuyuki Guion: Karakara Kemuri (manga) SINOPSIS La historia se sitúa después de la Restauración Meiji en Otsu, prefectura de Shiga, Japón. Orochi es una serpiente gigante con un poder enorme. La serpiente gigante revive una vez cada 300 años y trae desastre a la gente. Este año es el año del renacimiento del Orochi. La familia Kumou, que sucede el santuario Kumou, tiene 3 hijos. El hijo mayor es Tenka, el segundo Soramaru y el más joven, Chuutarou. Los 3 hermanos intentan bloquear el poder del Orochi. Mientras tanto, las fuerzas especiales Yamainu intentan sellar nuevamente el poder del Orochi para traer la paz a Japón, pero el grupo ninja "Anyaku" del clan Fuma comienza su movimiento para obtener el poder del Orochi y así poder derrocar al gobierno. Alrededor del renacimiento del Orochi se lleva a cabo una batalla a tres bandas entre los hermanos, las fuerzas especiales Yamainu y el grupo ninha Anyaku del clan Fuma. CAST Fukushi Sota como Kunou Tenka Nakayama Yuma como Kumou Soramaru Wakayama Kirato como Kumou Chuutarou Furukawa Yuki como Abeno Sousei Kiriyama Ren como Kinjou Shirasu Daito Shunsuke como Takamine Seiichirou Koseki Yuta como Nagayama Ren Ichikawa Tomohiro como Takeda Takuchou Kaji Masaki como Inukai Zenzou

TRÁILER: https://www.youtube.com/watch?v=w3ABLKXRAR4

[save-the-data]

Laughing Under the Clouds | Donten ni Warau (2018)

This title will be released on September 12, 2018.

[rubyblackmoon]

[bulanpagi]

since i've liked kpop for a long time, i got curious about whether are there japanese fans who like both tkz and kpop. so i did some browsing on twitter and found interesting tweets! 😆 this post is particularly about siennes/OGs and kpop idols who look similar from japanese fans' opinion.

Hanagumi's OG Top Musumeyaku, Ayase Senna & Blackpink's Rosé (Park Chaeyoung)

ooh i do agree with this one. they're both beautiful and have amazing vocals and dance moves. ayase senna and rose can speak english fluently too.

Soragumi's OG Top Otokoyaku, Ouki Kaname & Seventeen's The8 (Xu Minghao)

wah definitely!! soft voice offstage, alluring stage presence, graceful yet sharp movements!

Yukigumi's Otokoyaku Asami Jun & Seventeen's Jun (Wen Junhui)

op said aasa looks like mix of jun and nakayama yuma!

next one.. omg when i told you i cackled

Yukigumi's OG Otokoyaku, Ayanagi Shou & NCT's Yuta & Jaemin

honestly i don't see the similarity in shou and other nct boys but it would be amusing to see my fav otokoyaku assigned as nct's 25th member LOL

i might update the list if i see more :D

[franco-ikari]

Sailor Fuku Hangyaku Doumei: a série Sukeban concorrente do Sukeban Deka 3 que é a mais non sense ja vista

Pra quem não leu meus artigos anteriores sobre Sukeban Deka aqui vai uma rápida explicação: séries Sukeban são praticamente Dramas de TV japoneses que possuem muitos elementos de Tokusatsu,no lugar dos heróis que se transformam temos belas colegiais extremamente fortes capazes de usar armas incomuns e ao invés de enfrentar alienígenas ou invasores do espaço elas combatem bandidos “comuns” e Sukeban significa mulher chefe o feminino de Banchou que é como eles descrevem os delinquentes juvenis,como esses personagens rendem boas histórias graças a incomum postura forte e agressiva faziam muito sucesso nos mangás da década de 60 e 70 e estavam populares na década de 80.Assim a Toei decidiu adaptar um mangá dos anos 70 num drma pra TV usando idols em ascensão pra não apenas alavancar suas careiras como vender CDs da série com as músicas performadas por elas assim tanto a agencia quanto a produtora ganham nisso e nós também pois as séries possuem as mesmas características do Tokusatsu com as Sukeban sendo convertidas em verdadeiras heroínas fortes,belas e cheias de atitude e imponência com boas histórias já que a Toei é expert nisso há anos e Sukeban Deka foi um sucesso tremendo e obviamente outras empresas de olho nisso criaram programas similares,alguns deles podem ser desconhecidos por serem um tanto obscuros,porém pelo menos 6 séries desse estilo são s mais fáceis e acessíveis no momento que escrevo esse artigo.Realmente não sei se existem outras mas falarei daquelas que assisti já que virei fã desse estilo e produção. E uma dessas séries é Sailor Fuku Hangyaku Doumei ou a aliança rebelde do uniforme escolar numa tradução literal.Infelizmente não encontrei nenhuma informação de quem produziu essa série,é difícil achar qualquer informação sobre ela mas a fórmula de Sukeban Deka foi empregada aqui pois temos idols combatendo bandidos porém Hangyaku Doumei apesar de beber da fórmula tenta ter sua própria identidade sendo um pouco similar mas ao mesmo tempo tendo sua cara própria por assim dizer tal qual hoje temos uma infinidade de Battle Shonen de múltiplos estilos. E aqui eles foram bem espertos pois ao invés de usarem a imagem de uma idol em ascensão eles optaram também por colocar uma idol já popular como chamariz para série que no caso é a Miho Nakayama que interpreta a personagem Miho e tudo na série faz acreditar que a Miho é a protagonista porque dão um grande destaque a ela na abertura,ela aparece trajada como Hangyaku Doumei nela,ela parecia ter um papel importante e em todas imagens promocionais da série ela aprece em destaque porém esse foi um “click bait” tão grande quanto um jogo produzido pela Square e dirigido por Hironobu Sakaguchi que criaria mais tarde Final Fantasy onde a atriz estampava o rosto nas propagandas do jogo mas não estava nele.A real protagonista é Yumi essa sim interpretada por uma atriz em ascensão a Nobuko Sendo,a real protagonista da história. Existe um colégio chamado Kokuchou que era um colégio de prestigio e elite comandada pela família da Miho até tudo mudar com a administração de seu pai onde a escola mudou pra uma espécie de escola reformatória de delinquentes juvenis que promete corrigir filhos problemáticos de famílias ricas em troca das mensalidades caríssimas afinal nenhuma família quer que seus membros causem vergonha a sua imagem disposta a fazer tudo pra corrigi-los.Porém o que eles desconhecem são os métodos obscuros da academia de fazer isso pois seu diretor é um ex chefe da Yakuza e seu professor de Kendo gosta de bater nos alunos problemáticos com sua espada de madeira.A protagonista Yumi tem um passado trágico tal qual as heroínas de Sukeban Deka onde sua mãe tenta esfaqueá-la quando criança e deixa um cicatriz em seu peito.Em seguida homens com o simbolo da escola aparecem e essa é a única pista desse mistério,então a garota decide se matricular na escola. Ela ao investigar os mistérios do colégio acaba se deparando com Ruri interpretada por Risa Yamamoto e Kei interpretada por Kyoko Fujimoto que estavam fazendo o mesmo.Percebendo as habilidades incomuns de Yumi as duas decidem formar uma aliança pra investigar a escola formando assim o Sailor Fuku Hangiyaku Doumei onde elas se disfarçam com uniformes brancos e usam peruca e maquiagem pesada pra não serem reconhecidas(se um simples óculos faz o Superman ser irreconhecível por que não?) e passar despercebidas enquanto punem os professores abusivos entre outros criminosos que surgem ligados a escola que maltratam excessivamente os alunos.Já a Miho por ser filha do dono do colégio e ser tratada como uma princesa por todos acaba sendo alvo de um desdem por Ruri e Kei e só as observa de longe ajudando o Hangiyaku Doumei em momentos de perigo estilo Tuxedo Mask com suas rosas explosivas e a única que sabe que é ela é a Yumi que mantém segredo pela animosidade dos outros.O outro personagem é o Yuta que dá suporte as garotas mas como é fraco fica longe dos combates

E basicamente Hangiyaku Doumei trás um caso onde um professor ou algum aluno ou até mesmo criminosos ligados a escola causam algum problema a algum aluno,as grotas investigam durante o dia e quando descobrem o que ocorre elas usam seus disfarce pra punir os malfeitores,usando as armas incomuns de sempre. Ruri usa pincéis,Yumi usa luvas,e Kei usa um lenço marrado em uma corrente que muda de tamanho conforme o diretor quer,e sem dúvida Hangyaku Doumei é a mais insana e nonsense demonstração disso,se você acha absurdo colegiais usando bolas de gude e agulhas de tricô como armas vai achar normal perto de Sukeban Deka porque na série as personagens são fortes mas não fazem nada muito fora acima do limnites do exagero que a série dá,em Hangyaku temos coisas muito absurdas além desses limites e a série trata como se fosse a coisa mais normal do mundo,e por isso os episódios são bem loucos como quando um professor cego com um belo afro é testado pelos alnos que atiram facas defendendo elas com sua bengala com uma caveira no cabo(!) mas que tem o poder de hipnotizar pessoas com suas falas recitadas de inglês ruím. Assim que as pessoas atendem uma ligação eles a recita novamente as deixando em transe fazendo elas virarem assassinas loucas que atacam seus familiares.E el apenas finge que é cego.Em outro temos uma professora sexy estrangeira que deixa os alunos malucos e fazem tudo pra agrada-la porém ela está procurando a portadora das rosas explosivas,na luta final bem no estilo Gorenger a mulher gira e parece dói nada uma máscara em seu rosto como se fosse uma transformação e ela luta com cartas como armas.E como Miho consegue explodir rosas?não importa.Ou o aluno transferido interpretado por um dos membros da banda A-JARI que manipula o vento,e ele não é ninja nem do tipo,é só um músico que também é delinquente. Em Sukeban Deka tínhamos coisas como garotas que saltavam grandes alturas,esmagavam maçãs com as mãos e transformavam simples agulhas de tricô em armas letais mas nunca poderes especiais a não ser que tivesse uma justificativa pra isso como ser ninjas como em Sukeban Deka 3,era um exagero “normal” e que fazia sentido dentro daquele universo insano por assim dizer mas em Hangiyaku Doumei os diretores e roteiristas nem queriam nem saber,extrapolavam e dane-se se faz sentido ou não.

Em relação ao sucesso pelo que eu pesquisei mesmo com uma concorrência pesada com Sukeban Deka parece que a série conseguiu algum sucesso embora nem chegue perto do sucesso da concorrente.em relação ao enredo infelizmente pelo fato de não termos legendas não sei dizer como os mistérios da série são resolvidos com certeza,apenas que a mãe da Miho estava querendo assumir secretamente o controle da academia e estava pensando em um plano pra lobotomizar os alunos,e ela na verdade é a mãe da Yumi,sim aquela que a esfaqueou. Não sei os motivos dela mas no fim após a identidade do grupo ser revelada pouco após a Miho finalmente entrar no grupo e os planos da escola ser desmantelada ela se arrepende e Yumi decide sair da escola e se despede das suas amigas.Em relação a qualidade eu digo que essa série não chega nem perto de Sukeban Deka especialmente da terceira temporada e não é nem por ter metade dos episódios,o Sukeban Deka original tinha 24 episódios e uma ótima trama e desenvolvimento.O problema de Hangyaku Doumei é que a trama dele e seus personagens não são essas coisas,a relação entre as garotas do Hangyaku Doumei é bem rasa,elas tem uma tretinha no inicio,rapidamente se tornam amigas e fica por isso mesmo,a relação é estática e não cresce,a série se concentra muito as investigações.Mesmo episódios focados apenas nelas não são muito interessantes e a série termina sem você ficar marcado por nada,ele é apenas um show muito louco e meio divertidinho mas é só isso,rokla umas cenas de ação bacaninhas,mas nenhuma história interessante,diferente de Sukeban Deka onde a relação entre as personagens e o desenvolvimento crescem a ponto de dar uma ansiedade pra ver o que acontece.Ele me lembra o caso de Shoujo Commando Izumi mas de forma invertida,em Izumi a relação dos personagens é muito bacana e a trama é até legal,porém ele não te muito da loucura das séries Sukeban,já Hangyaku Doumei tem toda a loucura até bem mais exagerada mas o desenvolvimento de personagens e a trama em sí é bem rasa,fora o click bait com a Miho que te deixava numa expectativa pra ela entrar na equipe e só no final que ela de fato se juntava,e ela é uma atriz melhor que as outras e sua personagem poderia ter feito mais,parece que a agenda apertada da atriz que estrelava outro Drama simultaneamente pesou muito também,mas não deixou de ser um pouco de picaretagem dos produtores.Outro erro comum como Izumi é deixar as músicas das atrizes apenas como fundo das batalhas colocando uma banda já popular,o A-JARI com o tema principal,isso ofusca muito as atrizes e a série mostra pouquíssimas canções.Uma curiosidade é que o visual da Yumi com seu disfarce é bem similar a da Satsuki de Kill La Kill.Sabemos que muito de KLK é inspirado e referenciado diretamente de Sukeban Deka mas isso é algo que deixa no ar.

Finalizando,Sailor Fuku Hangyaku Doumei é uma série até divertida com todas as suas loucuras meio non sense,e mostra que não é tão fácil replicar a trama de sucesso.Talvez o fato de ser uma série original ao invés de vinda de um mangá(Hangyaku originou um mangá,fazendo o caminho inverso),ou porque a Toei tem mais experiência como veremos na próxima série desse especial Sukeban

[kinbari14]

Kenka Banchou Otome BD & DVD

[fangirls-existencial-problems]

Sexual harassment #2

[semisgroupie]

About Me:

I’m 19 (turn 20 in April)

My name is Denise but I prefer to be called D or any nickname yall could think of as long as it’s not mean

I’m Latina :)

Pronouns are she/her

I’m a full time college student majoring in psychology and minoring in english

I’m ISFJ and an Aries

Time zone is EST

I’m left handed

I play 4 instruments (trumpet, trombone, piano, drums)

I play volleyball (I’ve been playing for about 5 years now, I’m a middle blocker/backup setter and was captain of my high school team)

I’ve been surrounded by music almost all my life so that’s what inspires me to write songfics

A little fun fact: I almost always cry when I listen to Fuyunohanashi or see any Given edit on tiktok

Kins (bolded = top kin)

Ushijima Wakatoshi (Haikyuu)

Asahi Azumane (Haikyuu)

Mafuyu Sato (Given)

Haruki Nakayama (Given)

Dazai Osamu (BSD)

Tamaki Amajiki (BNHA)

Tenya Iida (BNHA)

Megumi Fushiguro (JJK)

Simp List (won’t make it too long)

Haikyuu: Asahi, Bokuto (my lovely himbo), Semi (my fav rockstar), Kita, Kuroo, Nishinoya, Konoha, Hanamaki, Osamu, Saeko, Tendou, Iwaizumi, Terushima, Hirugami, Shirabu, Inuoka, Kawanishi, Meian

Jujutsu Kaisen: Nanami, Gojo, Getou, Noritoshi, Megumi, Itadori, Nobara, Mai, Sukuna, Yuta and my sweet sweet baby Junpei

Naruto: Kakashi (my first anime crush and I’d let that man do anything and I mean anything to me) and Itachi

[ikemenfangirl]

New Opara radio drama Project Mix 2D characters & 3D

Aoyama Operetta (#青山オペレッタ)

By: Cybird, Avex Pictures and ABC Rights Business

Media Mix : Opara radio drama Project

Website: http://aoyamaoperetta.com

Twitter: https://twitter.com/aoyama_operetta

Aoyama Operetta, A theater company in Aoyama, Tokyo, consisting of only unmarried men.

It has a long history of opera in more than 100 years.

From its origins, it is characteristic that men also play the role of women

In welcoming the memorable "100th generation"

An experimental new team "Nova" is formed

The "100th gen member" selected in the special audition

All the members had too strong personality.

Will they be able to succeed in the first stage insix months?

[Cast]

Miyajima Asahi CV: Nagae Ryoki #長江崚行 (Famale role)

Sai Takao CV: Nakayama Yuki #中山優貴 (Male role)

Nagae Kaguya CV: Yabe Masaki#矢部昌暉 (Male role)

Sakurai Noe CV: Osumi Yuta #大隅勇太 (Famale role)

Yachi Kirigisa CV: Ohira Shunya #大平峻也 (Famale role)

Kagami Shota CV: Tomosune Yuki #友常勇気 (Male role)

Yamesaki Tatsuki CV: Shimono Hiro #下野紘(Cold perfectionist sergeant)

Maki Shinsaku CV: Tone Kentaro #利根健太 (Stronger weirdo director)

Character design: Takita Chihiro

PV: https://youtu.be/FJaRojbuXe8

#青オペ #Opera #Radio #MediaMix