#masami onishi

[pinturas-sgm-tanques]

1944 08 Normandy  Tiger Porsche schwere Pz Abt 503  - Masami Onishi - Tamiya

repost better colors

#masami onishi #tamiya

[usafphantom2]

December 1943 Vought F4U-1A Corsair VMF-214 Black Sheep Vella La Vella Island - Masami Onishi

@ron_eisele via X

[pinturas-sgm-aviacion]

1943 01 Nakajima A6M2-N Type 2  RUFE - Masami Onishi - Sweet models

#seaplane

[the-outer-topic]

Run ark - box art Masami Onishi

#abandonware #box art #videogames #masami onishi

[micromanclub]

Yuuichi Higuchi interview

(translated from Volume 6 of the digital version of Yoshihiro Moritou's Microman manga anthology available on BookWalker)

■ Image sketch of Microman Arm System (working name) by Mr. Higuchi. Each part is connected by five-part jointed arms, and each part can move flexibly. It is said that the development was canceled due to problems with strength, even though a prototype was made. Mr. Higuchi provided us with this new illustration of the concept. (Editor)

-------

The Era of Microman

Can you tell us the original point of contact between Mr. Higuchi (with Design Mate) and "TV Magazine"?

"In terms of Takara's work, I have been sketching products since the launch, so I believe design for the product advertisement page was my first relationship. In addition to "Microman", I was in charge of some of the advertisements for "MagneRobo Steel Jeeg" and so on. After that, development of Microman articles started with TV Magazine, and I was in charge of the layout of those pages. I think that would have been my first point of contact with the editorial department of TV Magazine. "

How did you get involved?

"The editorial department asked me to lay out the illustrations. In other words, the design of the look and feel including sketches of the illustrations drawn by Masami Watanabe.

I remember receiving an order like "We want to make the magazine a little more powerful ..."

In 1977, when the article serialization began in TV Magazine, what kind of position did Mr. Higuchi participate in "Microman"?

"Until then, the main packages, catalogs, and pamphlets were done by Sugawara (lead designer / current president of Design Mate at the time), and I was in charge of sketchwork, but I decided to take over everything including the graphics I was doing since then. This would have been right when Microman Command started in 1977.

So, to put it in an extreme way, it was a time when I was doing everything related to Microman. I wasn't just designing and painting, I was doing it all including photos for the catalogs, so I was so busy that I could hardly go home (laughs). I was in my twenties at the time, so I think I managed to get through at a young age. "

Thank you very much for your hard work! To what extent did you design the article page?

"Full color promo spreads as well as the "Microman Club" segments. Within Microman Club, we also selected the reader-submitted postcards. At that time, I really received a lot of postcards. Regarding the spreads, it was almost the first time to work on such a magazine, but I thought that I had to make it competitive with the other pages....Mori-san's (Yoshihiro Moritou's) manga was also extremely detailed. ”

Microman special one-shot magazine "Magazine Zero Zero", which was sold as a set with Microman Command No. 3 (or Lady Command), was also a product of this period. It is said that not only it gave a full view of MicroEarth, but also the lifestyle is shown...

"" Magazine Zero Zero " started at the request of Mr. Ogawa (Iwakichi Ogawa), head of Microman development at the time at Takara, but the idea of ​​the page layout and contents is my doing.

We did it with the total mobilization of the company. I also drew illustrations. By the way, the fashion corner of Micro Earth was created assuming that girls would buy Lady Command."

Following "Magazine Zero Zero", TV Magazine Special Edition Volume Microman Book (published on November 15, 1977), TV Magazine Color Book 2 , "The Definitive Edition of Microman Encyclopedia" (published on August 25, 1978) and Microman's other publications would be released one after another. These were good memories, right?

"In 1978, the development of "Timanic" began, and the following two years were a really rich time."

In the Rescue Squad series developed in 1979, the character of Mr. Moritou are drawn in the catalog...

"This is exactly what we aimed for: a synergistic effect with Mr. Moritou's manga. At this time, his art for Microman was widespread. "MFC (Microman Fan Club)" was made around the same time. Mori-san also illustrated the newsletter of "MFC"; the TV Magazine Microman Club column section was ending, so this meant Takara wiould create the official fan club. It all started with that. I used to go to his house to pick up Mr. Morito's illustrations, but he was very enthusiastic about his work, so I often had to wait (grins). Mr. Mori's uncompromising attitude was very impressive. ”

The end of the 1970s was when Design Mate started working on mechanical design for TV animation.

"That's right. When we were doing work other than product design, we were particularly focused on "Cyborg 009" (Hiroshi Onishi), "Daltanius" (Sugawara), "Tanser 5" (Higuchi), etc. in 1979. Personally, "Ideon" (1980) is the most memorable. I also drew a lot of posters and illustrations. Certainly around the time of "Ideon". When I was invited to (anime studio) Sunrise's year-end party at that time, Kunio Okawara and I took the return train together. At that time, I remember that Okawara-san praised me, "Higuchi-san does very nice realistic illustration."

What kind of involvement have you had with "Microman" since the Rescue team members?

"I had been involved up to halfway through the "New Microman" line that started in 1981, and I hadn't touched it since the start of the "Micro Change Series." In recent years, I have been cooperating with the replica series, "Magnepowers Microman", and the "Micro Force" series currently being developed. Recently, through "Microman," I have had many opportunities to work with creators who are younger than me. At that time, I am reminded of how much what I have done still affects people (grins). I could now appreciate the hard work I used to do back then.

Published (October 10, 2003 / Recorded at Design Mate)

Yuichi Higuchi

Born July 13, 1957, from Niigata Prefecture.

The works that Design Mate Co., Ltd. were involved with included "Science Adventure Corps Tancer 5", "Legendary Giant Ideon", "Galaxy Cyclone Braiger", and "Wonder Beat S".

Currently still active as chief director.

Also responsible for "Acrobunch" and many others.

#ミクロマン #microman #takara sf land #micronauts

[pinturasdeguerra-1945-1985]

McDonnell Douglas F-4E Phantom II Early Production - Tamiya - Masami Onishi

[vgatsuki]

VOGUE GIRL  TAKE IT FROM A QUEEN Epsode5

https://voguegirl.jp/fashion/trend_fashion/20191213/take_it_from_a_queen_ep05/ _CREDIT_ DRAG QUEENS: ANA DIAMONDCLASS, PIÑA NIÑA SPECIAL GUEST: YOU MODEL: ELAIZA IKEDA VIDEO DIRECTOR: ATSUKI ITO VIDEOGRAPHER / STILL PHOTOGRAPHER: MASAMI SANO (Kiki inc.) VIDEOGRAPHER: YUICHIRO SENDA VIDEO EFFECT: HAZUKI AUDIO: SHUMPEI ARAI CREATIVE DIRECTION: SHUN WATANABE (SW'NG inc.) STYLING: ANA DIAMONDCLASS HAIR / MAKEUP : HARUKA TAZAKI (H studio inc.) HAIR / MAKEUP : RIE SHIRAISHI NAIL: MOEKO NAKAMURA CREATIVE SUPERVISOR: GEN ARAI WRITER: TOMOMI HATA PRODUCER: SHINJI ONISHI CREATIVE PRODUCER: MAKIKO KAWAGOE

#video

[nzchao]

「ムラカミロキ」映像上映

今週末、本日から来週末の４日間にかけて京都ルーメンギャラリーで開催される、ヴィデオパーティーに初参加します。 自分は明日28日の15:00〜、プログラム３にて新作『Whole Globe Canaria』が上映されます。 関西方面の方、夏休みで京都方面に遊びに行ってる方はぜひとも足をお運びください。

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

VIDEO PARTY 2019

■会期

第1期　2019年7月27日（土）〜28日（日） 第2期　2019年8月3日（土）〜4日（日）

■上映スケジュール

7/27（土） 15:00〜　プログラム1 17:30〜　プログラム2

7/28（日） 15:00〜　プログラム3 17:30〜　プログラム4

8/3（土） 15:00〜　プログラム5 17:30〜　プログラム6

8/4（日） 15:00〜　プログラム7 17:30〜　プログラム8

■入場料 1プロ：一般1,000円／学生500円 4プロ：一般2,000円／学生1,000円 フリーパス：一般3,000円／学生1,500円

■会場 京都 Lumen Gallery http://www.lumen-gallery.com/ Mail: [email protected] Facebook Page https://www.facebook.com/lumengallery.kyoto Twitter: @lumen_gallery https://twitter.com/lumen_gallery

〒600-8059 京都市下京区麩屋町通五条上る下鱗形町543 有隣文化会館2F

京都市営地下鉄「五条」駅１番出口より東へ7分 阪急電車「河原町」駅11番出口より南へ10分 京阪電車「清水五条」駅3番出口より西へ5分 京都市バス「河原町五条」停留所から西へ徒歩2分

------------------------------------------------------- 個人映像のアンデパンダン　

　個人によって創られた映像作品はストーリーが無いものもあり、一見すると内容が難解と思われがちですが、その可能性は無限であり、次々と新たなイメージが産み出されています。しかし残念ながら、そのジャンルを越えたバリエーションに触れる機会は、多いとは言えません。私たちは、確実に増殖する個人映像作品を上映し記録することで、個人映画公開の機会をさらに増やしていきたいと考えています。 VIDEO PARTYは京都を中心に、所属、立場、ジャンルを越えた、ドラマ、アニメーション、実験映像からドキュメンタリーまで内容も様々な、個人で作られた映像を発表する場として企画され、2013年より公募作品の上映活動をしています。

　また、2014年より海外映像祭や教育機関、上映団体等と連携し作品の交換上映も進めています。2016年は台湾、韓国、マカオ、中国、札幌での上映をし、VIDEO PARTYの参加作品を各地で紹介しています。 　個人の眼差しによって紡がれる映像の行く末と更なる可能性を探る〈場〉へのご参加をお待ちしております。 2019年は7月27日(土)〜28日(日)８月3日(土)〜４日(日)の4日間、京都のLumen galleryにて開催します。

Announcement for VIDEO PARTY in KYOTO 2019 There are many video works created by various independent artists these days, many of which seem to have no storylines and contents hard to comprehend. But the potential of this media is limitless and there are many fresh imageries being created continuously. Unfortunately, we do not have enough occasions in which we can come in contact with borderless variations of the genre. It is for this reason we assemble this VIDEO PARTY, where we can screen and make records of these ever-growing works of independent artists, as well as to simply increase the opportunity for Indies video works to be seen. Based in Kyoto, the VIDEO PARTY has been organized for independent artists to exhibit their works, regardless of their nationality, affiliation, standpoint and genre - ranging from drama, animation, experimental and documentary - and has been screening publicly offered works, since 2013. For this year, the PARTY will be held in July (provisional), at the “Lumen Gallery”, a video-specialized gallery established in Kyoto. We have also started the work exchange program since 2014, in cooperation with several overseas film festivals, educational establishments and Indies film screening organizations. In 2016, we had successful screenings in Taiwan, South Korea and Macau and China, to introduce participating works of the VIDEO PARTY. We plan to expand the interaction and create more opportunities to screen in more locations this year. We anticipate your joining to this opportunity of witnessing the future and exploring the potentials of video works, woven by various independent artists. Hence, we would like to invite everybody to subscribe your works. This year's event will be held at Lumen gallery in Kyoto on July 27 (Sat)-28 (Sun) and August 3 (Sat)-4 (Sun) for 4days.

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

■主催 Lumen gallery + AF PLAN ■協力 新視角・株式会社電気蜻蛉・ファインダーズビューロ・光束舎

AF PLAN http://www.af-plan.com/ Twitter: @AF_Plan_info https://twitter.com/AF_Plan_info

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

■プログラム参加作家（全119作品）

●プログラム1（14作品103分） 7/27（土）15:00〜

區 諾言 / AU NOK IN はなび / Hanabi Jiang Tingxuan 甘 梓熊，胡 燕婷 / Kam Chi Hong，Wu In Teng 山田 香凜 / Karin Yamada 柳瀬 昇 / Noboru Yanase 小野 ハナ / Onohana 西田 知司 / Satoshi Nishida 伊藤 早耶 / Saya Ito 大原 とき緒 / Tokio Ohara Yüiho Umeoka 小林 優美子 / Yumiko Kobayashi 三ツ星レストランの残飯 / ZANPANO

●プログラム2（18作品94分） 7/27（土）17:30〜

野田 ちか子 / Chikako Noda 和島 ひかり / Hikari Wajima ないとう日和 / Hiyori Naito 赤堀 香菜 / Kana Akahori 桑田 真帆 / kuwatamaho 丸山 真貴子 / Makiko Maruyama 陳 美齡 / Mei-Ling Chen ライオンズ マイケル / Michael Lyons ラランブザツブ　ナリアンザ　ブルルニアイナ / Ralambozatovo Narianja Vololoniaina 高山 隆一 / Ryuichi Takayama 蘇 茵 / Su Yin 片岡 拓海 / Takumi Kataoka 岡松トモキ / Tomoki Okamatsu 冼 永昇 / Vincent Sin Weng Seng さとうゆか / Yuka Sato 前原 佑柾 / Yuma Maehara 三木 由也 / Yuya Miki

●プログラム3（12作品99分） 7/28（日）15:00〜

山中 千尋 / Chihiro Yamanaka 大西 宏志 / Hiroshi Onishi Hosomi Omaki I-hui Lee / I-hui Lee 荒木 優光 / Masamitsu Araki 加藤 菜々子 / Nanako Kato 横須賀 令子 / Reiko Yokosuka ムラカミロキ / MurakamiLoki 聖和学園高校3年生 / Seiwagakuen High School 伊奈 新祐 / Shinsuke Ina うえだしょうた / Syota Ueda 岡澤 侑希 / Yuki Okazaki

●プログラム4（12作品93分） 7/28（日）17:30〜

笠原 明枝 / Akie Kasahara 三宅 章介 / Akiyoshi Miyake ARCHIVES PAY / ARCHIVES PAY しゅ げいぜん / Zhu Yiran 相内 啓司 / Keiji Aiuchi Kimberly Quah 聖和学園高校3年生 / Seiwagakuen High School 河原 雪花 / Setsuko Kawahara 宮崎 渉大 / Takahiro Miyazaki 吉田 孝行 / Takayuki Yoshida 映像基礎１チーム＋相内 啓司 / Team Video basis1+Keiji Aiuchi 由良 泰人 / Yasuto Yura

●プログラム5（17作品99分） 8/3（土）15:00〜

KUAD情デ・アニメーション基礎受講生 / Animation basics students of KUAD Information Design 三木 はるか / Haruka Miki 景 燁 / Jing Ye K.Kotani 丁 凱馨 / Kaixin Ding 奥野 邦利 / Kunitoshi Okuno 小野寺 海香 / Mika Onodera 吳 嘉恩 / NG KA IAN／Hsu, Yun Ting 林 紗綾香 / Sayaka Hayashi 聖和学園高校3年生 / Seiwagakuen High School 半田 泰一 / Taichi Handa 三輪 隆 / Takashi Miwa 大谷 たらふ / Tarafu Otani Tomo & Ryota Younghee Shin Zoyeon / Zoyeon

●プログラム6（14作品103分） 8/3（土）17:30〜

iY0Yi (Atsushi Hashimoto) 豊田 がく / Gaku Toyota はなび / Hanabi 万城目　純 / Jun Manjome 馮 祉穎 / Kasee Fong 林 恭平 / Kyohei Hayashi Kyu Nyun Kim 伊藤 仁美 / Masami Ito もりなか みく / Miku Morinaga おりえ / Orie Nakamura 伊東 哲哉 / Tetsuya Ito 冼 永昇 / Vincent Sin Weng Seng 黃 榮俊 / WONG WENG CHON 昼間 行雄 / Yukio Hiruma

●プログラム7（17作品91分） 8/4（日）15:00〜

櫻井 篤史 / Atsushi Sakurai 楠本 博登 / Hiroto Kusumoto 長田 華音 / Kanon Nagata 高橋 幸太郎 / Kotaro Takahashi 中村 古都子 / Kotoko Nakamura Mahzoun Maryam 橘 雅也 / Masaya Tachibana MATSUMO 陳 美齡 & 鄭 宇翰 / Mei-Ling Chen & Yu-Han Cheng Plan B Workgroup Rikako Kamomae 高橋 良太 / Ryota Takahashi 吳 俊 / Steven 小池 照男 / Teruo Koike tschoe one うずしむ / uzushimu 後藤 由香里 / Yukari Goto

●プログラム8（15作品97分） 8/4（日）17:30〜

相馬 あかり / Akari Soma 鈴木 杏奈 / Anna Suzuki 林 展揚，湛 穎深 / Cecilia Cham, Lam Chin Ieong 鍾 俊彥 / Chong Chon In FMCイラスト工房 / FMC illustration Factory 中島 楽人 / Gakuto Nakajima ミタニハルカ / Haruka Mitani 張 翛慧 / Hui swift Zhang 近藤 利洋 / Kazuhiro Kondo 金井 啓太 / Keita Kanai 張 焯敏 / Kobe Cheong 呂 昕揚 / Lyu Xinyang 岡 むつみ / Mutsumi Oka 渡井 登紀子 / Tokiko Watai tschoe one

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

WebSite http://lumen-gallery.com/vp/ Facebook Page https://www.facebook.com/video.party.kyoto/ Twitter: @VIDEOPARTYKYOTO https://twitter.com/VIDEOPARTYKYOTO

#VIDEOPARTY

https://murafake.hatenablog.com/entry/2019/07/27/061228

#VIDEOPARTY

[newstfionline]

In Japan, single mothers struggle with poverty and with shame

By Anna Fifield, Washington Post, May 28, 2017

OSAKA, Japan--The country suffered a “lost decade,” and then another one, after its bubble burst some 25 years ago. To this day, despite Prime Minister Shinzo Abe’s efforts to reinvigorate it, Japan’s economy remains in the doldrums.

Now, experts are warning of a “lost generation”--a whole tier of Japanese children who are growing up in families where the parents--or, often, a single parent--work but do not earn enough to break through the poverty line.

“The Japanese economy has been getting worse and worse, and that’s hurting poor people, especially single mothers,” said Yukiko Tokumaru, who runs Child Poverty Action Osaka, a nongovernmental organizational that helps families in need.

The judgment and stigma that single mothers face in many countries are taken to another level in Japan, a homogeneous society where those who do not conform often try to hide their situations--even from their friends and wider family.

But Japan also has a culture that makes it difficult for women to work after having children--changing this is a key part of Abe’s solution to the country’s economic problems--and that makes life exponentially harder for single mothers.

“We have this culture of shame,” Tokumaru said. “Women’s position is still so much lower than men’s in this country, and that affects how we are treated. Women tend to have irregular jobs, so they need several jobs to make ends meet.”

Japan does have a welfare system, and it provides benefits according to different situations. A 35-year-old mother in Osaka with two elementary school-aged children and no job can expect to receive $2,300 a month.

But the number of families living on an income lower than the public welfare assistance level more than doubled in the 20 years after the asset price bubble popped in 1992, according to a study by Kensaku Tomuro of Yamagata University.

Now 16 percent of Japanese children live below the poverty line, according to Health Ministry statistics, but among single-parent families, the rate hits 55 percent. Poverty rates in Osaka are among the worst.

“If parents are working poor, their children are poor as well, and the cycle of poverty is handed down to the next generation,” Tomuro said.

“Poor children can’t get higher education, so they end up with a bad job,” he said. The prolonged recession created a layer of second-tier jobs, in which workers do not get the security or benefits that had long been standard--damaging their prospects. “They can’t start a family as they can’t get married or have a child with a low income.”

This situation is all the more surprising given that Japan does not have anywhere enough children. The country desperately needs more taxpayers to fund the pensions of its rapidly aging society.

The falling birthrate means that the population, currently 127 million, is set to drop below 100 million by 2060, and one-third of Japanese will be older than 65.

Community centers in Osaka provide not only free dinners and playtime for children, but also camaraderie for the mothers.

“I feel relieved when I come here with my kids,” said Masami Onishi, a 23-year-old single mother who stopped by an Osaka center called Nishinari Kids’ Dining Hall, which is in a small, two-bedroom apartment in a housing project.

“It’s a relief to meet fellow mothers and talk about any difficulties we are having. I realize that I’m not the only one going through this,” she said. Onishi has a job operating a machine at a sheet metal factory, but it’s a struggle.

“And it’s fun to come here because I get to see my children smiling and other children smiling, too,” she said as her daughters, Sora, 6, and Yua, 3, ate octopus dumplings, an Osaka specialty.

“I want 20, and I’m going to eat them by myself!” yelled Masahide, an 8-year-old who came to the center by himself and repeatedly lashed out at other children, hitting them for no reason.

Such behavior is normal among these children, said Yasuko Kawabe, who started the Nishinari center, which relies entirely on donations, after meeting children who were always angry.

“I wondered if they were hungry,” she said, so she started cooking lessons as a way to feed the children. “I’ve seen dramatic changes in the kids’ behavior. Before, they wouldn’t even look into my eyes and couldn’t communicate. But they become much calmer here.”

But it’s not just about food. It’s also about attention.

“These kids don’t see much of their parents because they’re too busy working,” Kawabe said. “So when they’re here they’re very clingy. They crave attention.”

Local schools, which once tried to hide their problems, now refer children to Kawabe’s center.

Indeed, for women trying to operate support groups, even finding single mothers to help can be a challenge--because the sense of shame runs so deep.

Some women are so embarrassed about a relationship breaking up that they don’t tell their friends, or even their parents, said Junko Terauchi, head of the Osaka Social Welfare Promotional Council, a nongovernmental group helping single mothers with advice and emergency food packages.

“Single moms in poverty try really hard not to look poor,” she said, describing how they buy makeup and nail polish at the Japanese equivalent of a dollar store so they can keep up appearances. “Sometimes local government officers, who are often men, say things like, ‘You don’t look like you need welfare.’”

Children of single or poor parents often are ostracized in their communities, Tokumaru said, noting that other parents do not want their children playing with children from a “bad house.”

The plight of these children only worsens as they become older and face the question of whether to continue their schooling.

This is a problem all too familiar for Akiko, a 48-year-old who works part-time at a day-care center and also receives public assistance, but struggles to make ends meet.

Her 20-year-old daughter, who skipped school between second and sixth grade because she was bullied for having separated parents, did not pass the exam to enter a public university. So she’s now at a private college.

Akiko, who spoke on the condition that her full name not be published because of the stigma, has been challenged by local officials over why she’s trying to put her daughter through a private college. “I felt hurt by these kinds of comments at the beginning, but now I’ve become accustomed to it,” she said, noting that a welfare officer, of all people, should not be trying to perpetuate the cycle of poverty.

Some change is happening slowly at the grass-roots level, with groups like Kawabe’s and Tokumaru’s putting pressure on local authorities to do more to help single mothers. But change at a national level seems a long way off, they say.

#Japan #single mothers in Japan #children in Japan

[kentootv]

35歳の高校生 (35-Sai No Koukousei )

Dorama Details

Title: 35歳の高校生

Title (romaji): 35-Sai No Koukousei

Title (english): No Dropping Out: Back to School at 35 / 35-Year-Old High School Student

Broadcast Network: NTV

Genre: School drama

Episodes: 11

Release Date: April 13 - June 22, 2013

Runtime: Saturday 21:00

TV Ratings: 13.3%

Theme song: Flower Song by EXILE

Plot

During the new semester in April, a woman appears in the classroom for the 3rd year high school students. The other students wonder who she is. The woman tells the students she is a student in that class.

The woman does ordinary student things like wearing their school uniform, homework and participates in gym class, but she is different. She arrives at school in an expensive car. During break time, she smokes in the teacher's smoking room. After club activities, the woman drinks a beer. Yet, after school, she delivers newspapers as part-time work. She is mysterious. The woman tries to solve problems like high school bullying.

CAST

Main Cast

Ryoko Yonekura as Ayako Baba

Junpei Mizobata as Junichi Koizumi

Mayu Matsuoka as young Ayako

Faculty Members

Tetsuya Watari as Yukinobu Asada

Nana Katase as Akiri Nagamine

Takeshi Masu as Makio Ninagawa

Toshihide Tonesaku as Takashi Saruwatari

Hiroki Aiba as Ryuichiro Kitajima

Yohei Kumabe as Wataru Iseya

Sho Ikushima as Koichi Higuchi

Megumi Yokoyama as Yuki Mayuzumi

Takaaki Enoki as Yoshio Noda

Class 3-A

Taiko Katono as Ryota Otake

Shiori Kitayama as Yuna Izumi

Fujiko Kojima as Moe Kokubun

Yua Shinkawa as Mizuki Kudo

Masaki Suda as Masamitsu Tsuchiya

Mahiro Takasugi as Ren Higashi

Yukito Nishii as Teppei Saegusa

Shuhei Nomura as Osamu Yukawa

Alice Hirose as Rina Hasegawa

Reiko Fujiwara as Mai Yuki

Elina Mizuno as Ai Yamashita

Karen Miyazaki as Rikako Hatori

Aoi Morikawa as Hitomi Eto

Kento Yamazaki as Ryo Akutsu

Masami Imai as Rin Sato

Haruna Onishi as Momoko Ueda

Takumi Sato as Yuta Shimizu

Tomoya Shiba as Hitoshi Okura

Yoshiro Dojun as Tetsuya Jinbo

Kazuya Nakajima as Shinichi Kashiwagi

Tatsuya Nakayama as Yuji Matsumoto

Sumire Fujishiro as Keiko Hirakawa

Koki Horikoshi as Goki Murata

Daiki Mihara as Yosuke Shinohara

Izumi Yabe as Yui Matsushita

Mari Yamachi as Sayuri Tachibana

PRODUCTION STAFF

Director: Sakuma Noriyoshi, Nagumo Seiichi, Nishino Maki (西野真貴)

Screenwriter: Yamaura Masahiro (山浦雅大), Takahashi Yuya

Chief Producer: Ohira Futoshi

Producer: Ikeda Kenji, Akimoto Takayuki (秋元孝之), Taka Aki

Music: Yokoyama Masaru

Narrator: Koyama Rikiya (小山力也)

WEBSITE 

Official Homepage: www.ntv.co.jp/35jk

Official Twitter: @jk35sai

source : AsianWiki + DramaWiki + Wikipedia

SPOILER

Yamazaki Kento played as one of the student from class 3-A. He is a loner, he has no friends at the school. His image is somewhat mysterious, quite & have cool side. But actually he is the key of The School's Caste. What did he do? Who is him actually? Find the full story by download or stream here:

[DOWNLOAD LINK]

RAW VIDEO: ALT1 / ALT2 / ALT 3

SUBTITLES

STREAM (with engsub)

*ALT = alternative

#Yamazaki Kento #山﨑賢人 #山崎賢人 #35歳の高校生 #35-Sai No Koukousei #35-Year-Old High School Student #No Dropping Out: Back to School at 35 #tv drama #dorama #2013

[pinturas-sgm-tanques]

bonus tracks      

1944 08 Poland, Vistula river Panzer IV H mit Schürzen - Masami Onishi - box art Dragon

repost improved red glare

#masami onishi

[superkimster]

via Twitter https://twitter.com/imola13640

#IFTTT #Twitter

[pinturas-sgm-aviacion]

1945 02 Kawasaki Ki-61-Id Hien (Tony) 244 Hiko Sentai - Masami Onishi - box art Tamiya

244 Hiko Sentai (Tai-I Teruhiko Koyabashi) | Chofu AB February 1945

#box art #tamiya

[recentanimenews]

Date A Bullet Anime's 1st Part "Dead or Bullet" Confirmed to Get Event Theatrical Screenings

    Date A Bullet: Dead or Bullet, the first part of the upcoming anime adaptation of Yuichiro Higashide's Date A Live Fragment: Date A Bullet novel series, is confirmed to get event theatrical screenings in Japan in near future.

  As a spin-off to Koshi Tachibana's Date A Live romantic comedy sci-fi light novel series, it has been published from KADOKAWA's Fujimi Fantasia Bunko since March 2017 and six volumes are currently available. The anime project was announced back in September 2019 and Jun Nakagawa (High School Fleet:The Movie) serves as director at Studio Geek Toys. Asami Sanada, who has voiced Kurumi Tokisaki in all of the previous Date A Live anime series since 2013, is confirmed to reprise the role.

  The site has also announced the six additional voice cast. Read their comments below:

  White Queen: Saori Onishi (Eriri Spencer Sawamura in Saekano: How to Raise a Boring Girlfriend):

"As White Queen, I will be participating in 'Date A Bullet,' a spin-off of the Date A Live series with a long history. Because she is a little bit unique character, I would like to carefully play to make people feel a sense of discomfort in a good way, while keeping the worldview in mind."

  Hibiki Higoromo: Kaede Hondo (Sakura Minamoto in Zombie Land Saga):

"I am Kaede Hondo, and I will be playing the role of Hibiki Higoromo. Hibiki-chan is an easy-going girl who you can't get tired of watching. In the main story, she is stirring up Kurimi-san and others! Watch the first part, then the second part as well. Be amazed! Hondo is so...!"

  Tsuan: Mariya Ise (Killua Zoldyck in Hunter × Hunter):

"The character I will be playing, Tsuan is a girl who loves to fight and has the alias of 'Biscuit Smasher.' I can't wait to see what kind of battle she will have against Kurumi-san. I hope you're all looking forward to it!"

  Panie Ibusuki: Rina Hidaka (Last Order in A Certain Magical Index):

"I was reading the script with a lot of excitement while wondering how the characters would fight..., who would target whom..., and what they want... I had a lot of fun playing the voice of Panie Ibusuki because she had a lot of different expressions. It's a spin-off to 'Date A Live,' which has been loved by many people for a long time, so I would be happy if this anime can live up to their expectations. You can look forward to it!"

  Yui Sagakure: Masami Seto (Raphtalia in The Rising of the Shield Hero):

"I am Masami Seto, in charge of the voice of Yui Sagakure. As I write this comment, I'm still looking forward to seeing how she will be portrayed in the story. I hope to be able to bring out her charm in the recording."

  Isami Hijikata: Natsumi Fujiwara (Daigo Shigeno in Major 2nd):

"Congratulations on the anime adaptation! I am very happy to be able to participate in this anime. It's nice when girls are fighting each other... I can't wait to see what kind of battle awaits us in the future! I hope I get a lot of action! I'm nervous, but I'm going to have fun doing it! Thank you very much!"

    『デート ・ア・バレット』 追加キャスト発表——❗️ 白の女王：大西沙織 緋衣響：本渡楓 蒼：伊瀬茉莉也 指宿パニエ：日高里菜 佐賀繰唯：瀬戸麻沙美 土方イサミ：藤原夏海 前編「デッド・オア・バレット」 全国劇場にてイベント上映決定——????https://t.co/clyQBjGQrf#date_a_bullet pic.twitter.com/DPkDmlth29

— デート・ア・ライブ[公式] (@date_a_info) May 18, 2020

    Key visual:

    Announcement PV posted in September 2019:

    Source: "Date A Live Fragment: Date A Bullet" anime official website

  © Yuichiro Higashide, Koshi Tachibana, NOCO 

   By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

[lovequotescom]

The wedding challenge: Can the trend of decreasing wedding prices in East Asia be reversed?

The wedding challenge: Can the trend of decreasing wedding prices in East Asia be reversed?

HONG KONG: decreasing wedding prices are increasingly being seen across the world, however it is possibly within the aging communities of Asia that the growing wide range of singletons is stressing moms and dads – and governments – the absolute most.

In Asia, moms and dads have actually taken fully to offering leaflets in matchmaking areas, often minus the younger generation’s knowledge; in Japan, blind relationship cafes make an effort to create busy experts over some coffee and dessert, and when they find no chemistry, there’s constantly going back into slogging away at the office.

A preference for baby boys has resulted in a massive gender imbalance and men who can’t find a wife at home, so they’ve turned to marriage migrants: Foreign women are now getting married to Korean men to escape poverty in South Korea. In Hong Kong, guys finding lovers in mainland Asia has resulted in a surplus of females into the town and an agency that is dating regional ladies US$600 for the blind relationship supper which international males could go to free of charge.

Yet absolutely absolutely nothing appears to assist. Wedding prices continue steadily to slump across East Asia. It’s a pressing problem because in Confucian communities, no wedding can indicate no young ones, which may jeopardize a country’s economic leads and, perhaps, its success.

MARRIAGELESS IN JAPAN

While parallels of moscowbrides login less marriages and plunging delivery prices are available in all eastern Asian societies, the broad trends almost always were only available in Japan.

Based on Japan’s nationwide Institute of Population and personal protection analysis, because of the time they turn 50, one out of four men that are japanese solitary, as does one out of seven females.

But that’s perhaps maybe maybe not when it comes to lack of attempting. Studies additionally claim that numerous singletons that are japanese would like to get hitched.

Therefore Arata Funabara, four times hitched himself, started a rate cafe that is dating Ginza to aid. Workers in offices can drop set for an hour or so in the center of a single day to chat within the opposite gender.

In real Japanese fashion, most come in pairs or trios. Funabara provides them a range of 3 wristbands that are coloured. Many choose “not searching” blue, although the cafe owner claims that doesn’t suggest they have been actually uninterested.

“Japanese individuals, our company is extremely bashful. ”

But anthropologist Yoshie Moriki states this hasn’t been the truth. She recalls when you look at the 80s and 90s when Japan experienced quick financial development, males had been more excited about courting females. Nevertheless, 2 decades of financial stagnation changed the video game for teenage boys.

“These teenagers within their 20s and 30s now are making less cash compared to the generation that is previous. But nevertheless the ladies are searching for similar amount of financial capability, ” she said.

“At the time that is same teenage boys by themselves nevertheless think it is their obligation to give you, thus I think the financial framework is actually extremely hard. ”

To be certain, Moriki’s perhaps perhaps not blaming females for seeking economic protection in a wedding. In mainland China and Hong Kong too, females frequently desire to “marry up”, an activity made harder given that they’ve been better educated and better paid by themselves. However in Japan, wedding, or simply the perception of planning to get hitched, might take a cost on a woman’s job.

“There’s plenty of businesses, ” says Prof Jeff Kingston, Director of Asian Studies at Temple University. “Companies assume ladies are likely to get hitched and possess young ones, so they really wear them the alleged mommy track, in less responsible roles. ”

Even in the event a female can skirt that trap at the beginning of her profession, getting married and children that are having often requires her to just take a lifetime career break.

“Gender division of functions continues to be quite strong. Raising kiddies and care that is taking of family members is observed as being a woman’s work, ” says Kingston. “If they sacrifice either child care or senior look after their professions, they’ve been accused to be selfish. ”

As soon as from the workforce, the majority of women believe it is impractical to come back to a job that is fulltime. This means the quick profession break would find yourself costing a Japanese woman US$2 million in life time profits.

“Naturally whenever ladies think of wedding, these are typically very careful in Japan, ” claims Zhou Yanfei, A senior researcher during the Japan Institute for Labour Policy and Training. “They need to set money degree for his or her lovers. ”

THE KIDS ARE ALRIGHT

When Asians don’t marry, they tend to not have kiddies.

In Britain, near to 50 percent of the latest children are now actually born away from wedlock. The figure is simply 2.3 in Japan, 1.9 in Korea.

For all your efforts made towards halting the populace decrease, few Asian governments, including Japan’s, allow it to be easy for males and females to possess kiddies by themselves.

“Politicians are reluctant to get here because their concept of the Japanese identification is associated with the original family” which is comprised of a daddy, a mom and two kids, stated Kingston.

“By 2040, they estimate 40 percent of Japanese households will undoubtedly be solitary individuals, and so the family that is traditional currently departed, but federal federal government policies continue to be assuming that it is a powerful pillar of culture. ”

Solitary mom Masami Onishi together with her two young daughters at house in Osaka. (Picture: Wei Du)

For the women that are few decide to be solitary mothers, difficulty awaits.

Based on Zhou of Japan Institute for Labour Policy and Training, 51 percent of solitary moms in Japan reside in poverty, plus one in seven states she cannot afford necessities that are basic food at the least every once in awhile.

Masami Onishi, 24, works nine hours a time, six days per week to help make us$800 per month. Having a full-time task is additionally a necessity on her to get some federal government welfare.

Though never married, she wears a marriage band.

“once I didn’t wear the band, strangers would show up and tell my girls that they had no dad. It hurt them badly, ” she stated.

The insurance policy of requiring mothers that are single work befuddles specialists.

“The rate of poverty does not alter quite definitely even though the moms will work, due to the position that is weak occupy when you look at the labour market, ” said Zhou. “The federal government has to boost welfare paying for these families now, because poor moms raise kids who carry on become bad. ”

The inter-generational transfer of poverty is maybe perhaps not news to Yasuko Kawabe whom operates a meals bank for solitary moms and kids. But she feels politicians are intentionally searching one other means.

“If we assist these kids now, they’ll grow up become taxpayers for the united states, ” she states. “Just consider exactly just just how wonderful that might be. ”

WE HAVE BEEN NOT SPECIAL

An extra problem for Korea and Asia in nudging their visitors to marry is just a choice for infant guys, that has resulted in gender that is skewed, and today statistically a percentage of the guys won’t ever look for a spouse in the home.

Enter Vietnam, nation that stocks their Confucian culture. Beginning within the 90s, commercial wedding agents took Korean males here to take into consideration a partner.

For Korea though, it had been an affront into the national country’s identity.

“We have traditionally been convinced that Korea is a uni-race, pure country that is blooded” said Prof Choi Hyup, a study teacher in anthropology at Chonnam University.

Into the hastily arranged unions, the mismatch of objectives often resulted in tragedies.

“The ladies arrived right right here since they wished to assist their own families in Vietnam. The males are usually really disabled or old. They covered the ladies become right here to simply help their own families, ” said Yoo Si Hwang who counsels Vietnamese migrants in a Seoul church.

The korean government tightened rules for cross-border marriages, setting a minimum income requirement for the men after a slew of high profile abuses and a few murders of Vietnamese brides in the 90s and early 2000s. Moreover it launched multicultural household facilities round the nation to greatly help the foreign spouses incorporate.

Pham Minh Chinh is amongst the tens and thousands of young Vietnamese girls who married Korean men significantly more than a decade their senior. She’s now proficient in Korean, adapted well towards the lifetime of a strawberry farmer and raised two kids along with her spouse in Korea’s rural Chonnam province.

Kiddies of mix-race wedding though tend to struggle in school. Because their moms frequently speak restricted Korean, they develop language abilities later on than their peers.

The theory that being Korean that is pure-blooded is nevertheless lingers, and sometimes means they become objectives of bullies.

“We have to show our kids it’s just one of the many cultures in the world that we are not special, ” says Choi. “That the Korean culture is not special. Because exactly just what option do we’ve? ”

L’article The wedding challenge: Can the trend of decreasing wedding prices in East Asia be reversed? est apparu en premier sur The Love Quotes | Looking for Love Quotes ? Top rated Quotes Magazine & repository, we provide you with top quotes from around the world.

from WordPress https://ift.tt/3ceN17q via IFTTT

[nebris]

1943 Panzer III Ausf M by Masami Onishi