#yutaku

[orjange]

Suture

Rating: General Audiences Category: M/M Fandom: Kamen Ride Faiz Language: English Ships: Inui Takumi/Kiba Yuuji Characters: Kiba Yuuji, Inui Takumi Tags: Fix-It Fic, Canon Divergence, Character Death Fix Words: 575 No additional warnings.

Written in 2018 to cope. published on AO3 in 2021

Summary:

Kiba wakes up in a hospital bed. [Spoilers for the very last arc of Faiz.]

Kiba opens his eyes to find himself in a hospital bed, Inui clasping his hand, warm tears dripping onto his fingers. He's never seen Inui cry before, at least not like this. And for whom? The man who had betrayed him. Inui always had more faith in Kiba than the man himself did, or anyone else, really. But he never really realized this, not until now. Raising his other hand to gently cup Inui's face, wiping tears away with his thumb, he tries thinking back on what just happened.

"Kiba?"

He must have passed out. His abdomen is throbbing, his legs feel numb, like they're not even there. Inui must have hit him there, Kiba realizes.

It was a small price to pay in exchange for getting to live. He'd manage even without functioning legs.

"Kiba!"

Inui must be consumed by guilt. Kiba wants to lessen this, somehow. He feels that he deserves way worse than this for what he had done. He wants to reject Inui, push him away, because he doesn't deserve him. Not his guilt and not his-

"Kiba! Just... Say something already!"

Kiba snaps back into the present. "Inui..." His voice sounds awfully hoarse.

"Kiba..." Inui tries to wipe his tears with his sleeve but it doesn't work as well as he anticipated and he gets more snot on it than tears. "Oh fuck..."

Kiba smiles. For a bit he feels like nothing even happened. Like they are back at the batting cages, just talking and enjoying the other's company. Back then, Inui Takumi had a calming effect on Kiba. With him he felt understood better than by anyone else.

But Inui clung to an idea of Kiba when the man himself had already changed. Kiba knows now that he'd been wrong, at least partially. It's no easy choice - humans or orphnoch? But to fight for the humans, who had betrayed their trust times and times again... Kiba was starting to understand what Murakami had been saying all this time. Maybe the humans were eternally meant to be his enemy.

Yet Inui chose them. Inui chose them over him.

Kiba didn't really know why he'd even cared so much. It seemed to be much less about gaining a strong ally and far more about... Having Inui by his side.

He looks over to Inui, who is now frantically wiping his snot-covered sleeve with a tissue.

"Inui..." Kiba says and Inui stops the snot wiping and looks at him, with that soft expression of his, and it feels a bit strange. Kiba is now too awake to ignore the stinging in his chest, or his throbbing headache. "...What happened?"

Absent-mindedly crumpling the tissue in his hand, Inui takes a moment to think. He looks down then, his expression visibly darkening. "...Your legs..."

"Inui..." He takes the other man's hand, the empty one, in his, and squeezes it firmly. "It's okay. It's not your fault... You made the right choice"

Inui's eyes glaze over again.

"It could be way worse. I could be dead right now!" Kiba says in a joking manner.

The other man doesn't laugh. He hums briefly, as if to signal that he has thought the same thing. But it seems to do little to console him.

Kiba absentmindedly massages the back of Inui's hand with his thumb. "I feel no regret... Or malice towards you." It's true. "And I don't want you to feel guilty like this." Or anything.

[yagurlhere]

Preview for a video I guess.

The Susie and Sphere Doomer one made me feel like crying. 😃

[historyhermann]

Metallic Rouge Spoiler-Filled Review

Metallic Rouge, also known as Metarikku Rūju, is an original mecha anime series. It is produced by Bones, for the studio’s 25th anniversary, an animation company known for Ouran High School Host Club, Gosick, Space Dandy, and Carole & Tuesday. Motonobu Hori directed the series. Supervising director Yutaku Izubuchi assisted him in series composition. Toshizo Nemoto wrote the screenplay. Toshihiro…

[seksfotka]

Yutaku

[dweemeister]

NOTE: Despite the fact Ocean Waves was originally released on Nippon TV, it debuted as a theatrical film in the United States in 2016. As per the rules I set out for this blog, it will be treated as a theatrical film.

Ocean Waves (1993, Japan)

The operations of Studio Ghibli are unusual for your typical Japanese anime studio. In an industry where employee burnout and turnover is high, Ghibli’s founders have always wanted to retain their young, promising talents. Their results have been mixed, but are markedly better than any other studio working in anime features. Before the temporary shuttering of the feature animation department, the first major occurrence of significant staff changes was when Sunao Katabuchi (2001′s Princess Arete, 2016′s In This Corner of the World) was demoted to assistant director on Kiki’s Delivery Service (1989).

Based on Saeko Himuro’s novel of the same name, Ocean Waves – also known as I Can Hear the Sea (a direct translation from the Japanese title) – was an attempt from Ghibli executives for their younger animators and staffers to display their creative prowess after Katabuchi’s unceremonious reassignment. Directed by Tomomi Mochizuki, a journeyman storyboard artist/director who had never worked for Ghibli before (or since) and whose directing experiences are more television- than cinema-based, this is a work for Studio Ghibli completionists only. The inexperienced animators and staffers should be proud of what they accomplished, even if that means it is one of the weakest films in the Ghibli canon.

Taku Morisaki is at a train station in Tokyo when he thinks he recognizes the woman on the opposite side of the platform. Ocean Waves then flashes back to two years earlier to his high school days in somewhat-rural Kôchi (on the island of Shikoku and the capital of Kôchi prefecture). We learn that the woman on the other side of the platform was Rikaku Muto, a transfer student from Tokyo who he met through his best friend, Yutaka Matsuno. All three of them are in the same year. Ocean Waves is more episodic than your average Ghibli movie, and we see sequences of a school trip to Hawai’i – damn, what kind of high school can afford such a trip? – where Taku lends Rikaku some money which, for events that will probably leave you in disbelief, he will never get back. But using Taku’s money without paying back might not even be the most frustrating thing that Rikaku does to Taku. Amid of all this high school drama that trailblazes new territory for said drama, there is a love triangle between Taku, Rikaku, and Yutaku. Calling Ocean Waves a messy melodrama is being modest.

Studio Ghibli co-founders Hayao Miyazaki and Isao Takahata maintained a hands-on, teacher-student relationship with the junior staffers at Studio Ghibli – these staffers would become the storyboard artists, colorists, art directors, screenwriters, producers and directors of future anime features within and outside the studio. Considering the contemporary setting of Ocean Waves, those who worked on this film were most influenced by Takahata’s Only Yesterday (1991). Indeed, Only Yesterday’s influence can be seen from Ocean Waves’ flashback structure (not as intricate as the earlier film) and its utilization of partially washed-out backgrounds to suggest the passage of time and the imperfections of adult memories (both films share Katsuya Kondô as their animation director). Regarding the backgrounds in Ocean Waves, the white-washing is not as emphatic as the flashbacks in Only Yesterday. But compared to Only Yesterday, Ocean Waves’ flashbacks are not reaching as far back in the past; thus, the whiteness of the backgrounds in the later film are less impressionistic, emotional than in Takahata’s.

But just because the young staffers successfully studied Only Yesterday’s artistry does not mean that the decision to whiten the backgrounds exactly helps the film – especially when paired with a screenplay written by Keiko Niwa (credited as “Kaori Nakamura”; Niwa provided screenplays for 2010′s  Arrietty, 2011′s From Up on Poppy Hill, and 2014′s When Marnie Was There) that has severe pacing problems and has problems connecting the audience with the characters. Only Yesterday’s screenplay connected a young adult named Taeko to her elementary school self, that some of the strands of Taeko’s childhood are reflected in how she carries herself every day – empowering the animation style I have described. When Ocean Waves breaks from the flashback in its final minutes, it is too difficult to trace how present-day Taku has changed from a few years earlier and what about him has stayed the same. As a result, the formula replicated in Ocean Waves that was used in Only Yesterday – though superficially mimicked in Ocean Waves – never connects to the potential storytelling and thematic elements that it should.

If Taku’s character development makes little sense by the conclusion, his best friend Yutaka almost becomes an afterthought past the halfway mark, and Rikako is always erratic, oftentimes infuriating. Where Taku almost becomes a protagonist-as-witness, Rikako is the one pushing the story along to areas that audiences might not be comfortable with. She is combative, deceptive, selfish. Her parents have just divorced, but that might not be why she acts the way she acts (Ocean Waves gives passing suggestions, but they never develop into anything meaningful) What surprised me the most while watching Ocean Waves for the first time is that I could partially understand how Taku and Yutaka could still harbor feelings for Rikako despite her verbal and, in one scene, physical derision. The boys’ behavior reminded me of my middle school self – complete with my youthful, albeit hopeless optimism that someone who I liked but held me in silent contempt might change and return my feelings. But Taku and Yutaka’s feelings for Rikako exist on a more dramatic, romanticized basis which feels undeserved and inexplicable by the time the credits roll.

Ocean Waves asks the viewer the relive the awkwardness and irrationality of one’s teenage years. With the narrative’s incomplete, sometimes nonsensical character developments, there just seems too little of interest in our three main characters to care too much. Rikako’s behavior just becomes too exploitative and inconsistent to understand – perhaps it would make more sense if Ocean Waves was told through her best friend Yumi, another classmate who doesn’t have a crush on her, or Rikako herself. Through the frames of Taku and Yutaka, there is some objectification of Rikako that prevents all three of them from being likable.

Composer Shigeru Nagata’s score is simplistic, almost inappropriately comical at times. With a limited budget, restricted instrumentation, and a languorous end theme, there is nothing here, musically, to challenge Joe Hisaishi’s lesser compositions.

Mochizuki’s film, intended to cost a pittance and be completed rapidly, instead resulted in a ballooning budget and production overruns. It is not a great movie, but it is a laboratory of experimentation for the younger Ghibli staffers and should be valued as such. Ocean Waves was released last December in North American limited release, and received middling reviews. The film’s Japanese reception is something of a mystery as I am writing this, as I have not been able to find any free, English-language sources confirming how Japanese audiences might have reacted to Ocean Waves and whether that has changed over time.

Some of the most humanistic films ever made have emerged from Japan; some from Studio Ghibli itself. Those films have helped viewers – young and old, Japanese and otherwise – realize repressed anxieties, remind us of the small triumphs that exist during times of suffering, and show us characters with the dignity and grace to attempt an understanding of others. Ocean Waves is itself part of that tradition, but as a sort of training ground film with just too many screenwriting snags, its impact is dulled. 

My rating: 6/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found here.

[yamaming]

[yagurlhere]

I'm calling today Weeping Wednesday! 😃 Because I'm going to:

Watch WALL E

Play Kirby 64:The Crystal Shards (I love it but it can get so hard at times)

And read that comic by Yutaku Natsu and I'm not gonna spoiler too much about it but it's mostly about Kirby and Ribbon and it gets really heartfelt 😟

WISH ME LUCK! 😄

[softboiled-detective]

im surrounded by a few hundred ppl in this lecture hall and im like so close to busting out my sketchbook to finish drawing this disgustingly self indulgent yutaku inktober but like. do i dare draw ship art in public.... but also..... im so fuckin... bored

[softboiled-detective]

What are your main Kamen Rider ships for each season?

oh oh boy here we go. each season huh... im just gonna go straight down the line for the ones ive seen so far......

ryuki - gorou/shinji(/kitaoka) i love gorou to pieces

faiz - YUTAKU REAL AS FUCK legit my biggest romo ship in the entirity of kr 

kabuto - none really

deno - also none

decade - .......................... tsukasa/natsumikan,,,,, 

w - platonic shoutarou&philip (+akiko and ryu) i love family. also shoutarou/kirihiko

ooo - my other biggest kr ship except platonic aka my ooot3..... ankh&hina&eiji............ guh i have big feels for this ship...... 

fourze - none unless you count all of krc as one giant platonic ship. i love friendship a lot... plus i like to think of genchan as ace

gaim - kouta/micchy/mai couldve been real if gaim wasnt like that

drive - ...... gou/chase but the way i ship it is in this weird in-between platonic-romantic limbo... especially now after that drama cd

ghost - also none? 

exaid - kiriemu and i feel like i had another exaid ship but i cant fucking remember it for the life of me? its not a popular ship i think tho

build - while i think sento/ryuga is real but tbh i dont feel it its not bro core enough for me. i want kazumin/ryuga instead....... i should catch up on build one day...........

[softboiled-detective]

@thetrashiestoftrash​ replied to your post “@thetrashiestoftrash replied to your post “(lies down spread eagle)...”

I don't know if I could manage shinkens because I don't have a very good grip on the setting, but yutaku is more likely

oh??? youd write something for me?? i would actually die for you............ shinken was just an example tho i am literally always.................... checking shoutarous tag.................... its kinda sad actually considering how much i do so..... but like......................... i would die for you really if you did write anything