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holycow99 · 2 years

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Ishida Sui & Takahashi Kunimitsu 20/12/21 Stream Translation (requested) Part 5

This is not the full translation of the stream. I only translated the parts I could understand & interpret or parts I found interesting/important. I’m still a beginner in Japanese, so the translations may not be accurate. I apologise for any grammatical errors.

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notes:

I = Ishida Sui, K = Takahashi Kunimitsu

* = Translation may not be accurate

Ishida Sui and Takahasi Kunimitsu on responsibility

C: Sensei, honestly speaking, have you ever thought newbie mangaka are inspired by you when you read their one-shots?

I: I don’t know about that since I’ve never had the chance to read one. However, there are a few people around me that have become mangaka and following my style. When I saw that, I thought they’re copying me.

K: (laughs)

I: I asked my staffs’ opinions about it. I did have that kind of thought. Other than that, I’m not really familiar with the current manga, let alone the chance to read newbies’ works. People who judge their works might have the opportunity to do so. They did ask me to be the judge for new manga when I was doing TG, but I rejected it since I was a shitty bastard.

K: That’s a big responsibility, after all. Someone’s life could be changed because of that.

I: That’s right. I did think it might be worth it, but the me at the time was just a novice and felt unqualified to judge. I might get hated, so I rejected the offer. I still am to this day.

K: Would you accept if they offer you now?

I: I might reject it due to different reasons. I want to use the time I have to do other things. I want to concentrate on myself. If the same thing happened to you, would you accept it?

K: I could give my opinion on whether it’s good or bad, or whether I like it or not. But I wouldn’t know how that person’s gonna turn out in the future. So, it’s hard to give judgment whether that person’s qualified or not. I could only judge them based on the quality of their submitted song.

I: I think that’s absolutely fine. After all, evaluation requires your current judgment.

K: Then, it’s not an evaluation of the person because I only rely on that one song.

I: Well, that’s the way it is. It’ll be too much to handle if we think about their future. We can only judge their capabilities through the works they submit. It’s like an exam.

K: That’s why, I think it’s too big of a responsibility.

I: Yeah, it is. There are things that could help us prepare in taking such big responsibility. We could train ourselves, in the first place. I did think I might’ve run away from responsibility too much. Maybe I should’ve looked at them.

Ishida Sui and Takahashi Kunimitsu on self-love

K: I wanna be good at love.

I: Are you (laughs)? I see, you wanna be good at love.

K: Seriously.

I: (laughs) There’s no good or bad in love.

K: I wanna get along with myself. I wanna love myself more (laughs).

I: (laughs) Why? But I get you (laughs). Ultimately, you can’t love another person if you don’t love yourself.

K: I’m really bad at loving myself, so I wanna be good at it.

I: Which part of you, you don’t like? Go look in the mirror (laughs).

K: (laughs)

I: Tell me. Which part? You have two eyes, a mouth, and a pair of ears. So, which part of you can’t be loved (laughs)? What is it you don’t like about yourself?

K: I’d feel worthless.

I: Everyone feels that.

K: They do. However, I can’t become stronger if I told myself I’m not.

I: People think before they act about a lot of things. But when they think too much, they can’t have a wrestling match with the other party.

K: (laughs) So, I’ve been doing Sumo all by myself.

I: The other party might wanna have arguments. When you guys argue, you might realise the other party doesn’t think of you the same way as you do. You might be able to love yourself more, right? That way, you can destroy the labels you’ve put about yourself one by one. Then, you’d gradually love yourself. **

**t/n: Just to make it clearer in case it’s hard for you to understand what he said. He basically meant Takahashi Kunimitsu cares too much about what people think of him, so he often being cautious of what he says or does. However, if he just be himself, he may realise that people are actually okay with it.

K: I had been doing sumo alone all this while. I was the one thinking badly about myself.

I: You’re like that sometimes.

K: Me? Then, I’ll be careful from now on (laughs).

I: (laughs) Try to do it.

I: There’s a lot of things where we think too much. After all, it’s terrifying to be hated because you did something or say something weird. It’s okay to say something weird once. The other party might not give a damn about it. You’d realise it’s not something bad. Of course, there are times when the opposite happens.

K: Then, tomorrow I’ll buy a cake (laughs).

I: (laughs) Why are you buying cake?

K: I wanna spoil myself.

I: That’s good. Go buy some cake.

K: A reward for myself.

I: That was funny. Buying cake seems like a happy thing. People only buy cakes on joyful days, after all.

K: It’s like a symbol of happiness.

I: Everyone, go buy a cake precisely when you’re down. Buy the one from cake shop.

#ishida sui #choujin x #tokyo ghoul #takahashi kunimitsu #osterreich

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frenchcurious · 8 months

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Bruno Giacomelli, Kunimitsu Takahashi et Hideki Okada - Porsche 962 CK6 - 24 Heures du Mans 1968. © Didier Laporte. - source Carros e Pilotos.

#bruno giacomelli #kunimitsu takahashi #hideki okada #porsche #24 heures du mans

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hirocimacruiser · 4 months

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Another pic of the Advan livery Team Kunimitsu Honda NSX JGTC race car driven by Keiichi Tsuchiya and Kunimitsu Takahashi

#Honda NSX #Advan NSX #JGTC #keiichi tsuchiya #Kunimitsu Takahashi

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shibuyamorning · 1 year

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Kunimitsu Takahashi always delivers.

#the cabs #kunimitsu takahashi #i hate music

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newlifeskyhead · 2 years

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「誰かになりたいと思ったことはあるかしら？」

高橋國光, "解毒" [2010.02.23]

#高橋國光 #Takahashi Kunimitsu #the cabs #解毒 #photography #original photographers #original photography #Amateur Photography #photography on tumblr #my photos #photos #field #rocks #greenery #green #nature #iPhone photography

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scaleriders · 1 year

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Now shipping Aoshima 1/24 Hakosuka GT-R 50 Glorious Wins In Memory Of Takahashi Kunimitsu Scaleriders.com #modelkits #modelkit #wheels #rims #aoshimakits #plasticmodelkit #scaleriders #hobby #modelkits #modelcarculture #plasticmodels #scalemodels #modelcars #modelcar #jdm #124scale #124scalemodel #124motoring (at Los Angeles, California) https://www.instagram.com/p/CoY1wWsLG8p/?igshid=NGJjMDIxMWI=

#modelkits #modelkit #wheels #rims #aoshimakits #plasticmodelkit #scaleriders #hobby #modelcarculture #plasticmodels #scalemodels #modelcars #modelcar #jdm #124scale #124scalemodel #124motoring

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msproducer · 9 months

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Dude hyperfixations are actually insane.

I got hyperfixated on Initial D and it is the BEST thing that has ever happened to me.

I know about cars now!!! I got Forza Horizon 4, probably one of my favorite games to date! I know about car tuning and modding! I know about car manufacturers! I do not have a car, this information is not important to me whatsoever and I won't be using it, but I have it!!! I know about Keiichi Tsuchiya!!! I know about Kunimitsu Takahashi!!! And that's really cool! I know so much stuff and yeah, it won't benefit me in the future, but I know it!!! And just knowing it is so cool

Hyperfixations are crazy, you go in not liking cars that much and then you come out on the other side a feral beast foaming at the mouth pointing at cars and shouting TOYOTA

#fun fact had no clue at all what a toyota even was before Initial D #I know what a toyota is now

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drifts-sc · 10 months

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El drifting se remonta a la década de 1980. Sin embargo, se conoce como una técnica de conducción utilizada en otros deportes de motor desde la década de 1950. El drifting como disciplina única de competición comenzó en Japón con Kunimitsu Takahashi, considerado el "padre del drifting

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netzach-the-unholy · 11 months

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what if submarines could drift-- SUBMARINE RACING COMPETITION WITH KUNIMITSU TAKAHASHI IN IT

INITIAL D FIRST DRIFT SCENE BUT ITS IN SUBMARINES

#shitpost #initial d #submarine #submarines #drifting

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kenkamishiro · 5 years

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20181116 Translation of Ishida and Takahashi’s interview with BuzzFeed Japan

It took me 3 days to translate this monster of an interview (~3.5k word count lol), but it’s finally done! My hands need a break after typing for so long...

Thank you to the interviewer Kashima Yui for asking some really great questions, and BuzzFeed JP for making this interview happen. I really enjoyed seeing Ishida and Takahashi banter back and forth, you can really tell that they’re great friends, and I’m happy to have witnessed a sliver of their relationship.

Also, I’m far from perfect, so if I’ve made a mistake or mistranslated something, please let me know.

Edit: Fixed a line from Takahashi saying, “You did it,” to “He got me.”

“I’ve always thought about quitting” - Author of Tokyo Ghoul and his sworn friend talk about their creative works and the troubles they’ve faced

Behind the scenes of Tokyo Ghoul’s final chapter, and what it means.

By Kashima Yui, BuzzFeed Staff, Japan

November 16, 2018

Over 37 million volumes of Tokyo Ghoul have been sold worldwide. During the 7 years it has taken to reach its conclusion - from the start of its serialization to July of this year - Ishida Sui has delivered an elaborately portrayed work with a profound story to the world at a tremendous speed.

This enigmatic mangaka has almost never appeared in the media, but there is a certain someone that he’s been influenced by.

That person is Takahashi Kunimitsu of österreich, who was responsible for the Tokyo Ghoul:re anime ending theme, “You of Paradise.” Ishida for some time had a phase where he would only listen to the music that Takahashi composed. “He’s the type who’ll say everything that’s on his mind,” he raves.

At the same time, Takahashi must have also been influenced in turn by Ishida, for he had stopped making music until he received a request from Ishida.

I thought that I would no longer be making music. Why am I...?

Sui-sensei lives in Fukuoka, and Takahashi-san resides in the Kanto region. How did you two first meet?

Ishida: We first met 3 years ago when I requested the opening theme “Incompetence” for the Tokyo Ghoul √A anime. I’d already received many proposals for the opening song, but I more or less shot them all down.

It was because I liked the former band the cabs that Kunimitsu-kun used to be a part of. Right around when I was drawing volume 7 of Tokyo Ghoul, I was pretty much listening to just one the cabs song, “Soldiers in February”, which might be why I’m so strongly attached to the band.

Takahashi: But by then, the cabs had already split up and I’d stopped being a musician.

Ishida: After Kunimitsu-kun took a break from being a musician, I kept an eye out on his SoundCloud (laughs).

Every now and then I’d see a new song uploaded, so I knew that he was still alive and well. Since I knew he was still making music I thought, “Couldn’t he compose music for Tokyo Ghoul too?”

I said that to the anime people about 100 times, that I wanted Takahashi Kunimitsu to make the opening. But because he couldn’t make up his mind, they turned me down 99 out of those 100 times.

Takahashi: That’s ‘cause I never got the news to begin with! Back then the manager of the office I was enrolled at suddenly said to me, “Something big’s happened.” No warning in advance.

Ishida: What do you mean I never told you, are you even hearing yourself right now? (laughs) But it really was an impossible request. Plus the fact that Kunimitsu’s band broke up and was now nonexistent.

Takahashi: I thought to myself that I’d no longer work in music, so I wasn’t willing to accept at the time.

I’d uploaded my music onto SoundCloud, but that page was just a personal space for myself rather than a place to market my music. So when I was approached about a collab I was thinking, “What are they talking about? Why me...?”

Along with the fact that I’d never read Tokyo Ghoul.

Were you scared?

Takahashi: I was terrified. It had already been 3 years since the band broke up, so I felt like I’d lost my ability to compose music. I was thinking, “What’ll happen if I can’t make it?” On top of that, that piece was on a much larger scale than anything I’d ever worked on. That made me anxious on a regular basis.

...but on the other hand, it felt like this was a sign telling me to keep playing music. I wasn’t sure if I could do it, but I thought that if I didn’t try here and now, I might not play music for the rest of my life.

I was extremely tight on schedule for “Incompetence”, the opening theme for Tokyo Ghoul √A, but at any rate I frantically worked on it in a frenzy, feeling more and more dead by the end of it. I didn’t read a single page from Tokyo Ghoul so that I wouldn’t get pulled in by it. The result...every single bad thing that had accumulated during my 3-year hiatus showed up all over the song.

Ishida: I basically like everything he composes, so when I heard the demo I thought it was pretty good. I was more than happy. But I have to admit, that song...is way too all over the place (laughs).

Takahashi: Even when I listen to it now I think it’s all over the place.

Did the two of you come to interact through the production of “Incompetence”?

Ishida: No...back then I just received the demo. After it was released, we talked about it on Skype, and that was probably our first ever conversation. After that, was it through Twitter DM or email?...I got a message from him that had an “at this time” kind of vibe, and that’s when we began talking to each other more personally.

[T/N: I’m not exactly sure what Ishida meant by “at this time”, but the word he used, “この度は” is a form of “now” that you’d use in formal/business speech, so perhaps he meant that Takahashi’s message to him felt formal.]

The extent of our conversation for several months was just exchanging texts back and forth, but one day we unexpectedly began voice chatting through Skype. And then Kunimitsu-kun declared out of nowhere, “I am light.” (laughs)

Takahashi: I was overly concerned about my own image, so I’d try to crack jokes or else I’d have a hard time making conversation.

Ishida: I thought he was acting like an extremely gloomy person because he felt like it. Back then that dark part of me was also prominent, so when I tried talking all emo I’d get told, “I’m light.” (laughs)

Takahashi: I told you, that’s just me talking a lot and making jokes.

Ishida: After that, we’d talk on Skype once every month or two. One time we talked for around 6 hours.

Takahashi: Until morning. This guy talks while he works, you know, so he can blabber on for a long time.

Ishida: Funny enough I make more progress if I have someone to talk to while I’m working.

A mangaka and a musician talking on Skype night after night

And that doesn’t reduce your ability to concentrate? Since when you’re talking over the phone there are moments where you have to think about the person you’re talking to.

Ishida: It depends on the work. There’s a term in the manga industry where you’re just moving your hands. The “usual work”, should I put it? The “usual face”, the “usual composition.” When I’m doing that kind of work, I’ll often listen to someone talk, watch TV, or listen to music.

What do you talk about?

Ishida: About creative works, among other topics. Recently we’ve been talking about death matches.

Death matches?

Ishida: A type of fiction where a group of people are forced to kill each other off, you’re guaranteed to find one in any convenience store. Because the death match is such an excellent format, it’s easy to draw and sell in any era. But if the author relies too much on that format, the story will fall apart without them even realizing it...that’s my opinion on it.

The most interesting death match is still “Battle Royale.”

Takahashi: Rigid formats will always exist in any kind of media, including in music. It’s fine if you put a story into that template for starters, that’s what a countless number of creators are aiming for.

Ishida: The format itself isn’t bad, but if you rely too much on it, it no longer becomes your own creation, and the work ends up becoming sloppy and excessive.

When you’re talking things over with each other, are you ever influenced by the other person?

Ishida: I am. Whether it’s music or manga, I realized that there are many factors that I can relate to in terms of creativity, even if I may not be an expert in those fields. When I’m talking to Kunimitsu-kun, it makes me wonder if I can connect with people working in other genres. We can have discussions without building fences between one other.

What about yourself, Takahashi-san?

Takahashi: Objectively speaking, Ishida-kun is a very successful person. In the past I would always hold feelings of inferiority towards those successful people.

But talking to him...I realized that he was a normal person. It might just be by chance that Ishida is normal, but how should I put it, we suffer in similar ways. In that sense I’ve become more open-minded and changed how I think about people running on the front lines.

...I’m a professional too, after all. Since I’m a creator, the last thing I can do is call professionals fools.

I once gave up on music. Ishida Sui has kept going.

Takahashi-san, why did you stop being a musician in the first place? I heard that just before the cabs tour you suddenly disappeared.

Takahashi: ...that’s right. I caused a lot of trouble for many people, especially the band members, so I can’t talk much about it...just that I ran away like a fool. That’s why I thought I wouldn’t be working on music anymore.

After you kept composing music in your “personal space”, you received news of a collaboration. Have your thoughts changed on this matter?

Takahashi: I suppose so. When it comes to anything concerning Ishida Sui, there are two things that have affected me the most. The first is that the act of continuing on no matter what is worth its weight in gold, and to not object to it.

Ishida: It’s a huge feat, putting things out with no regard to its shape or form. I feel it even more since I’m not working on a serialization anymore. Whoever can accomplish this is truly remarkable.

Takahashi: I’ve already given up on music once, so I’ve got some very strong feelings regarding this.

And one more...because Tokyo Ghoul really felt like it reached its conclusion, I realized that “ending things properly” and “continuing” can both be considered equally wonderful.

What do you mean by “ending things properly”?

Takahashi: You know what Ishida-kun said when we first met? “I’d like to end Tokyo Ghoul by turning it into a complete train wreck.”

Ishida: You said you’d demolish it for me (laughs).

Takahashi: But when I actually read the final chapter, it had a pretty clean ending. "He got me...” I thought.

I’ve always thought about quitting

Takahashi: I find it frustrating that I was given the right answer without feeling like I earned it. Here I am strolling on the sidewalk, and before I know it Ishida-kun’s racing down the road...that’s what it feels like. That’s what I was heavily influenced by when I was making “You of Paradise.” How valuable “ending things properly” can be.

You’ve already mentioned how important it is to keep on going, but Sui-sensei, you continued to work on your serialization for 7 years. Did you ever think about quitting?

Ishida: All the time. I underestimated how taxing manga and magazine serializations were.

Why is that?

Ishida: I wonder...I think it was only after I realized that I could rely on other people that I really began to enjoy making manga. The conclusions I came to on my own were mostly self-contained, and I no longer felt that it was fun drawing manga alone.

But I found another way after asking around. And it only took about 6.5 years (laughs).

Have you been worrying on your own until then?

Ishida: This is a personal problem, but I didn’t want to tell anyone about how the story would unfold. I also considered the editor-in-charge as a reader, so I wanted to keep it a secret. In that case, what am I supposed to discuss with the editor? I can only talk about superficial things...that’s what I did for the longest time.

And though I’d been so eager to stop, I said that I wanted to keep going a bit longer during the last half-year...which was why I kept dropping off the manuscripts late every week. It seems that the printers always had to wait until the very last minute for my manuscripts.

The final chapter of Tokyo Ghoul was meant to be a train wreck

Ishida: I’d originally planned to finish it December of last year, but I said, “I’m sorry, I need another 3 months.” I increased the extension bit by bit, and I ended up lengthening it by about 6 months.

When I told the editorial department that I’d be done in 10 chapters, they prepared the cover page of the final chapter’s issue. But right before the deadline I told them, “I’m sorry again, I need 3 more chapters…”

Takahashi: I was reading that issue of Young Jump where it was supposed to end in 10 chapters. I was completely deceived (laughs). I saw the cover and it said, “Tokyo Ghoul climax.” So I thought, “Is it finally over?” but when I read it it just kept going on.

Ishida: When I told them I needed 3 more chapters, it was too late by then. Most likely every department was under chaos then, but I hope you can sympathize with the Young Jump editorial department.

Is that the reason why Tokyo Ghoul was on the back cover of the final chapter’s issue?

Ishida: It is. Thanks to the kindness of the editor-in-chief, he suggested that Tokyo Ghoul could get a cover if it was on the back.

I often see final chapters on the front cover, but it’s kinda cool to have it on the back instead. It might even be better to have the reader see Kaneki and Touka on the back so they can read it and think, “It’s really over.” It wasn’t what I was necessarily aiming for, but thanks to the editor-in-chief’s stylistic sense it made that back cover possible.

The final chapter went from a train wreck to a happy ending. Did you have a chance to change your mind?

Ishida: Probably...once I was aware that the ending was approaching, I lost all meaning of value behind a train wreck ending. At first I thought, “Let’s shock everyone and make myself disappear,” but then I realized that I was misconstruing that as cool.

Nonetheless...the endgame had some parts that were definitely messy, but I changed them to be positive. I’m fine with it not being good, as long as it’s got some definitive answers. That happy ending is also a train wreck in its own way (laughs). I thought that that kind of train wreck would be more interesting.

Takahashi: That ending completely shocked me. “He got me,” I uttered.

Communicating, continuing, ending

How did you feel when you were asked to collaborate with Tokyo Ghoul once again for “You of Paradise”?

Takahashi: As we got to know each other, we’d inevitably talk about the anime. I couldn’t refuse when I was asked to compose the ending song when I’d been watching the course of the final chapter from up close, and been utterly deceived and shocked by it.

...but I was scared.

Why did you think that, even though you achieved it last time without any major hiccups?

Ishida: I think it’s that feeling of, “did I strike gold?” There’s a lot of luck involved when you’re extracting gold from a lode. He was able to do this naturally during the cabs era.

Takahashi: I could compose music almost as if those lodes were exposed to the open.

Ishida: When I asked him to do “You of Paradise”, I got the feeling that he was thinking, “Where can I dig from...” I think he was afraid that he wouldn’t be able to dig up that lode. Though I thought he was going to be fine.

How do you think it turned out when you tried composing it with that fear in mind? Were there any changes, compared it to “Incompetence”?

Takahashi: “Incompetence” being all over the place was because I was all over the place.

Up until now I’ve been making music and thinking that I can’t convey my ideas well. When I was in the band, I’d never really been able to express my thoughts so I gave up. I thought it was an impossible feat for me.

“Incompetence” was a song that I tossed out into the world, without any hope that I’d be able to express such a warped feeling. For a while after that song was released, I hardly ever listened to it.

But Ishida-kun and my friends who are still playing in bands...I’ve watched them keep on going or reach a proper end no matter how many years passed by. They’re doing it right.

I came to the conclusion that it was dishonest of me to give up on expressing myself from the beginning when the people around me have been working hard and doing their best.

Sui-sensei, have you ever thought that you couldn’t convey something when drawing your manga?

Ishida: I definitely have.

Takahashi: Sounds like you’ve given up.

Ishida: Maybe, since I have to draw every week. If I don’t follow a set routine then I become overwhelmed very quickly. This means that I’m working on one panel at a time, but I can’t convey my ideas well that way.

And it’s not the reader’s fault, it might just be that I’m not good enough. I couldn’t figure it out no matter how much I thought about it, so I gave up on the issue of not being able to properly convey my ideas.

To be honest, I don’t really feel anything from people reading my stuff. I can’t physically see you reading the manga, and I can’t gauge how you really feel about it by asking how many copies you have. It’s to the point where sometimes I’ll notice someone reading it at a convenience store and think, “I finally found someone.” It makes me think that being a mangaka is a lonely profession.

Takahashi-san, did you compose “You of Paradise” after reading the final chapter this time?

Takahashi: I read it this time (laughs). At first, the song I was using for the ending before “You of Paradise” was some ridiculously abstruse piece. After I sent it to Ishida-kun, he told me, “To be honest, it’s got the things that I want to express and it’s packed with lots of stuff, but I want you to compose a really simple piece that anyone can listen to and enjoy.” And so it got rebuilt and that’s the song you see today (laughs).

First, face what you’re trying to convey. Don’t whine about how you can’t convey your ideas if you haven’t tried in the first place. That’s what I thought. If you start thinking, “I can’t do it in the first place,” you’re running away. Take that first step. It feels like I can now pursue universal virtues.

Ishida: It’s a challenge, huh.

Takahashi: I’ve thought about just giving up in defeat. When I first saw that the final chapter that Ishida-kun wanted to make a wreck of had turned into a beautiful and happy ending...he seemed to have chosen to end it by having it speak to people universally. I was shocked by it, and the desire to go along with it bloomed in me. If Tokyo Ghoul can have that kind of ending, then I can make the music to match it.

You seem to have changed a lot as a person over the last 3 years.

Takahashi: I had a musical spirit who would always whisper in my ear, “You’re that kind of human being, aren’t you?” When it disappeared after having stuck around since my band days, I kept my distance from it. But I feel refreshed now since I think I should finally put an end to my issues.

Ishida: “You of Paradise” is the only song appropriate for that kind of ending. No other song can work.

After a 2 hour interview, Ishida and Takahashi vanished into the streets of Shibuya to go watch a live performance of cinema staff, to which Iida Mizuki, the guest vocalist for “You of Paradise”, is a member of.

As an aside, the name of the cabs live tour that was never realized after Takahashi suddenly disappeared, was called “You of Paradise.”

END OF THE INTERVIEW.

Translator notes:

I think I need to clarify on what I mean by ‘train wreck’. When I say it, it refers to something in ruins, complete shambles, destroyed. Essentially a tragic ending, akin to chapter 143 of :re, so Ishida was thinking about having TG end in tragedy. I chose to use the term ‘train wreck’ and ‘in ruins’ over ‘tragic’ because they have slightly different connotations (台無し vs. 悲劇). It’s the reason why I would consider TG chapter 140 (when Kaneki ‘dies’ to Arima in V14, looks like an end to a classic tragedy play) as tragic ( 悲劇) and TG:re chapter 143 (when Kaneki loses to Juuzou and Hanbee and shit hits the fan for everyone) as 台無し (train wreck/ruined).

#Tokyo Ghoul #Tokyo Ghoul:re #Ishida Sui #Takahashi Kunimitsu #osterreich #Interview #Translations #my translations

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lunaamatista · 6 years

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Ishida Sui’s comment on “Rakuen no Kimi”

[source]

Work Introduction

A solo project by Takahashi Kunimitsu (ex. the cabs), österreich. For this new song, "Rakuen no Kimi", Iida Mizuki from cinema staff is providing the vocals! Furthermore, Yamaguchi Daigo from People In The Box, the performers of Tokyo Ghoul's ending theme "Seijatachi", is on the drums; and Kamano Ai who performed Tokyo Ghoul √A's opening theme "Munou" was invited for backing vocals. It certainly is a lineup suitable to embellish the final chapter of Tokyo Ghoul's TV anime!

Ishida Sui’s Comment

Originally, I liked the band the cabs.

I particularly like the song called "Nigatsu no Heitai"; at around the time of volume 7, I was pretty much exclusively listening to this song while I drew.

If it became an anime, I considered I’d like the cabs to make music for it.

By the time I finished drawing volume 7, the cabs had broken up.

After many twists and turns, I had Takahashi Kunimitsu make a song called "Munou". As a result, we began to talk little by little.

We also talked about the cabs on occasion. "It's my dream to have cabs do even a single song someday".

And so that was the result - due to us meeting, all sorts of things happened; due to the outside world, all sorts of things did not come true; but that was fine, I think.

Since I realized early on that "I like it because it's the music made by Takahashi Kunimitsu", as the production of "Rakuen no Kimi" comes to a close, I've been able to see many good things.

The thing that was particularly striking was the words Kunimitsu-kun said when he finished the song.

When he finished songs, he would usually always lament it, saying "Why did I make something like this?" (it's not like that, I'd think). But now, for the first time, he said "I think this is a good song".

That made me very happy.

I feel the same way. I'm glad I've been able to see the production of this song to the end.

To the people who supported this song: Iwakubo-san, Daigo-san, Kamano-san, Kawadzura-san from the engineering team; thank you very much.

To Iida-san from cinema staff: thank you very much for your wonderful singing. It was the greatest.

- Ishida Sui

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hirocimacruiser · 9 months

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MITSUBISHI STARION

Technology that is inextricably linked to the Lancer EX Turbo

Leading early Group A races with advanced supercharging technology

The Japanese car that fought best against Eggenberger's Volvo at the Inter TEC. Starion may have such an image. In the All Japan Touring Car Championship, he showed a perfect run from an early stage.

Stability and reliability are the keys to good results A-car that makes it to the ground safely

In the lineup of Mitsubishi Motors, the model developed in 1982 was the Starion, positioned as a high-end sports coupe that was the successor to the Galant (Lambda) and Lancer Celeste.

This model was introduced in the All Japan Touring Car Championship that began in 1985, but Mitsubishi's motorsports activities were originally focused on rally fields rather than circuit races.

This is clearly evidenced by the A53/55 Galant, the Southern Cross Rally with the AR73 Lancer, and even participation in the WRC, which began in the 1970s. Participation in the long-distance rally raid from Paris to Dakar was also seen as part of these rally activities.

However, for other manufacturers, for similar reasons, the most convincing PR activity for a market that was hungry for performance while surviving emissions regulations was motorsport. It was a result of making a decision and stepping into the circuit race at hand.

In this sense, the Mirage Cup, which started the one-make race, is probably the best example. As a category that conveys the glamorous atmosphere of racing, it was one of the races that attracted attention at the time.

On the other hand, in the touring car race of Group A vehicles, the Starion Turbo, which had a proven track record in the North American continent, was brought in. One of the reasons for this was that until then, Mitsubishi had had little to do with domestic races, and that they could not find a suitable car to participate in the newly-started Group A race.

This is also the case with Nissan's Group C cars, which used the proven mechanics of the IMSA series in the form of "reverse imports."

Well, that Stallion is equipped with a G63B type 3-valve SOHC + turbocharger engine. Mitsubishi had accumulated turbocharging technology with the Lancer EX2000 for WRC. The engine type of the Lancer EX2000 Turbo is the 4G63 type (different from the 4G63 type of 4-valve DOHC used in the Lancer Evolution series later. It is the SOHC 2-valve engine that became the prototype of this), and the basic part is Stallion's

Common with the G63B type. Looking back on these circumstances, Mitsubishi had a certain amount of experience and confidence in the basic mechanisms and content that make up the vehicle.

The first Stallion that appeared in such a background was InterTEC in 1985. After that, Akihiko Nakatani, who became the main driver of the Stallion, was combined with M. Liu and Fumio Mutoh to finish 4th overall. Considering that the 1st and 2nd place was the Volvo 240 Turbo and the 3rd place was the BMW 635CS, it was a good result, what happened to the other Japanese cars?

Then, from 1986, Kunimitsu Takahashi and Akihiko Nakatani teamed up to participate in the All Japan Touring Car Championship series on a regular basis. He finished 5th in Round 1 and 3rd in Round 2, and in Round 3 at Tsukuba, he finally won his long-awaited first victory.

At this time, the opponent was Takao Wada/Aguri Suzuki's Skyline RS Turbo, and although they conceded the series championship, they were always on even terms and won the 2nd place in the series. He had become a presence respected by other entrants.

The following year, 1987, they maintained their first-class competitiveness and got off to a great start with two consecutive wins at the opening of West Japan and West Sendai. After that, he continued to lose races due to trouble, but he managed to win the series ranking 3rd place thanks to his savings in the early stages. He has proven that he is still a first class contender.

In 1988, the Skyline fleet changed to the HR31 type, the Sierra RS500 increased, and the Supra entered the war. The SOHC system engine was already severe, and the chassis performance had reached the stage of review.

In terms of results, the 2nd place in the match against Nishi-Sendai was conspicuous, and the number of cases where other division 1 cars fell behind was increasing.

On the other hand, the wide-body GSR-VR (1987) was launched on the market during this period, and the basic performance was slightly improved, but compared to the trend of rival cars, the progress of evolution was not good. He took small strides and eventually withdrew from Group A racing in 1988.

After that, Mitsubishi's motorsports activities shifted to Group A rally cars with turbo 4WD starting with the Galant VR-4, and after the release of the Lancer Evolution series, it became a WRC top contender until it captured the world title.

Even so, in 1986, when the race began in earnest, the Stallion, whose basic design was already outdated, was able to achieve such a good track record. It's nothing but Taka.

At the 1986 Inter TEC, which was the debut race, it was exciting to see the Stallion running fast and make the Volvo team say, "What is that car?"

#Mitsubishi Starion #Grp A Starion #Grp A #Starion #Mitsubishi #Race car

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