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namedr · 20 days

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What are your art inspirations?

Disclaimer: A LOT of RAMBLING

Honestly hard to answer, nowadays I don't really look at a lot of art anymore but mostly just movies.

Biggest inspiration over the years (from 2020 to 2022) would have to be Kan Liu. His painting style with mostly just the round brush and hard edges really spoke to me, especially when it came to lineart I was a massive fucking copycat lmao.

Around 2022 I also began falling in love with Sungmoo Heo. The perspectives and overall style just fucks so hard.

The most obvious inspo would have to be Seonhyeok Jeon though, who I still rip off blatantly.

In general I began taking art seriously around 2020, when I found Kan Liu, because I began training to compete in bodybuilding, which I did the next year. I began getting super interested in how the body and muscles work so I just drew those a fuck ton, and those anatomy studies ended up really helping my art skills in general.

Anyway! For animation... Hiroto Nagata and Q Kawa are big inspos.

This shit is so fucking RAW and HOLY SHIT when I look at how the perspective gets just in your face I always just think "what am I even doing man I have to PRACTICE". It's like watching a Zyzz or Ronny Coleman clip before doing a lift at the gym but for art, shit's motivational.

This cut in Ghost In the Shell as well is WOW, I think what speaks a lot to me is when an animation doesn't conform to what's standard in the medium and tries to push boundaries/be unique. Be it in this case through insane details, in the case of Mushoku Tensei through bg animation mixed with extreme foreshortening or just a crazy perspective and punchy movements in the Madoka clip.

Overall it's hard to say what else my inspirations are though. When it comes to manga and comics I can think of Batman Year One, The Climber by Shin-ichi Sakamoto, Ultra Heaven by Keichi Koike, Solo Leveling (big inspo in 2021) and Homunculus.

Also, even though everyone assumes it, I haven't played Cyberpunk 2077 or am that big a fan of the Blame! manga, I guess I just have a fairly similar artistic vision to both of those.

For animated fiction it'd be Spiderverse recently, Millennium Actress, Silent Voice and a million other anime I've forgotten the name of. Naoko Yamada's directing for Silent Voice or other anime like Hibike Euphonium and the Liz movie has always been amazing to me because she is able to express characters personalities through their body language, like they way they walk or stand, in a way I have never seen done before. Extremely recognizable and iconic style imo. A long time ago I used to be really into watching anime, but I don't care much for it anymore.

Other inspo would be this guy on twitter, his stuff is insanely cool https://twitter.com/be_myvu/status/1725069515107533178?s=46

It's like that Ralph Waldo Emerson quote - “I cannot remember the books I've read any more than the meals I have eaten; even so, they have made me.” I think throughout the years I've been so obsessed with all kinds of artists that I've taken in inspiration from everywhere. I cannot recall them all anymore, but they have made me the artist I am today.

Currently, like I said, I would consider movies to be my biggest inspiration because I find it interesting how cinematographers are able to stylize real life, which I'm trying to get closer to. If I could direct a movie, I would probably stop making art right then and there, but I'm not really working towards that goal anyway lmao. One day, being able to make a short film in animation would be something I would like to do though.

I'm not deep enough into the movie scene to get the street cred of being called an expert but I love them a lot. Fallen Angels made me fall in love with fisheye back then for example. Fight Club and The Batman have a grit to them visually that I find inspiring, and movies like Persona and Heat also come to mind when I think of movies I just love. I could look up my letterboxd for a more thorough answer but I feel I've already been writing way too long.

For video games, I guess you can imagine that I would say Signalis lmao. Besides that I can think of Subahibi (vn), Muramasa (vn), and Va-11 Hall-a for inspirations

Lastly, I guess huge inspirations are also a fuck ton of music. I mostly listen to either metal or hard techno, but I think I'll refrain from any more yapping.

I feel that this isn't really a great answer to the question, but it's the one I consider the most correct, because it's never as simple as just mentioning one artist. With a lot of these you wouldn't see a visual resemblence to my art, but in all of these I recognize a feeling that I also find in my own art.

Thank you for the question!

#inspos

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hyeahgaku · 2 months

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SAKAMOTO DAYS Special "Fan Art Contest" Results in WSJ Issue 17/2024. The contest was held only in Japan, and 5 lucky winners would each be awarded a golden figurine of Tarō Sakamoto!

That aside, 100 lucky winners will be selected at random & stand a chance to win a commemorative gift for their participation in this contest!

#サカモトデイズ #yūto suzuki #official media #wsj extra #sakadays official contest #SAKAMOTO DAYS

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justforbooks · 1 year

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Ryuichi Sakamoto was not a man cut out to be a pop star. As a teenager, he liked the Beatles and the Rolling Stones, but his abiding passion was New York’s underground avant garde art scene – Joseph Beuys, Fluxus, Andy Warhol – and its accompanying experimental music: he was fond of pointing out to interviewers that he was born the year that John Cage composed 4’33. At university, he studied the work of modern composers Boulez, Stockhausen and Ligeti; he had a particular interest in the challenging electronic compositions of Iannis Xenakis. The first album to bear Sakamoto’s name, 1975’s Disappointment/Hateruma, was a collaboration with percussionist Toshiyuki Tsuchitori that consisted entirely of free improv. If he was going to have a role in the Japanese pop world at all, it was in the background, using his keyboard skills and interest in the fast-developing world of synthesizers to find employment as a session musician.

But a pop star was exactly what Sakamoto became, at least for a time. A 1978 session for singer Haruomi Hosono led to the suggestion that they should form a band with drummer Yukihiro Takahashi. Yellow Magic Orchestra went on to become both the biggest band in Japan – inspiring a degree of paparazzi attention and screaming fervour among fans that Sakamoto seems to have loathed every minute of – and the first Japanese artists to find more than novelty or cult status in the west.

Yellow Magic Orchestra were successful, but they were groundbreaking too. The convenient shorthand was that they were the Japanese Kraftwerk, although in truth, YMO didn’t really sound like Kraftwerk at all. Alongside the synthesizers, they used guitars, bass and acoustic drums. They were more straightforwardly aligned to disco: their debut album even featured an electronic version of the deathless “ooah ooah” whoop from the Michael Zager Band’s Let’s All Chant. You could detect the influence of jazz fusion and, later, the UK’s ongoing ska revival. Like Throbbing Gristle, they appeared fascinated by the kitschy 1950s exotica of Martin Denny and Arthur Lyman, which had featured traditional Japanese instruments and quasi-“oriental” melodies; Yellow Magic Orchestra’s biggest international hit was a version of Denny’s 1959 track Firecracker.

Equally, you could see why the Kraftwerk comparison stuck. Both bands shared an obsession with technology – Yellow Magic Orchestra were pioneering in their use of sequencers and samplers and they introduced the world to the sound of the Roland TR-808 drum machine – and a belief that being cutting-edge experimentalists didn’t preclude them from writing fantastic pop songs. The Sakamoto-penned Behind the Mask, from 1979’s Solid State Survivor, was covered by Michael Jackson, ostensibly for inclusion on Thriller, although it was dropped from the final tracklisting; it was eventually turned into a UK hit by, of all people, Eric Clapton.

Both YMO and Kraftwerk were interested in the detournement of Anglo-American pop: just as Kraftwerk borrowed from the Beach Boys on Autobahn, so YMO covered the Beatles’ Day Tripper and Archie Bell and the Drells’ Tighten Up, the latter in cartoonish Japanese accents. They also shared a dry sense of humour, which in Yellow Magic Orchestra’s case usually fixated on western prejudices and fears about east Asians. On the cover of Solid State Survivor, they dressed in red Mao suits, enjoying a drink with an effigy of the late dictator. While the US fretted about an influx of Japanese cars and technology damaging their economy, 1980’s X∞Multiplies featured a series of sketches, one featuring a sinister Japanese businessman signing a contract, another featuring an American who realises his Japanese host can’t understand English and lets rip with a torrent of racist abuse: “The Japanese are pigs, yellow monkeys, they have small cocks and short legs.” As a moral panic erupted over the deleterious and addictive effect of the Taito Corporation’s Space Invaders games, Yellow Magic Orchestra’s records literally sounded like arcade games: their eponymous debut album was packed with interludes featuring their bleeping noises and tinny Game Over death marches.

And, like Kraftwerk, Yellow Magic Orchestra proved vastly influential – or rather, it took the rest of the world a little while to catch up: there was something telling about the fact that Solid State Survivor wasn’t released in the UK until 1982, at the height of the synth-pop wave that YMO had presaged. By then, their music had found its way into the collections of DJs and producers in New York’s burgeoning hip-hop scene – they were apparently astonished when the audience on Soul Train began breakdancing when they performed Computer Games – although it was a track from one of the solo albums Sakamoto had begun releasing concurrent with his career in YMO that had the biggest long-term impact. Riot in Lagos, from 1980’s B-2 Unit, had been recorded in London with reggae producer Dennis Bovell, and was apparently inspired by the Afrobeat of Fela Kuti. It remains an astonishingly timeless and effervescent piece of electronica: if you didn’t know it and were told it was released last month, rather than 42 years ago, you’d believe it. Abstract but funky, it cast a considerable shadow over dance music: it was big club hit on release, helped shape the sound of electro and turned the head of hip-hop producers including Kurtis Mantronik. Drum n’ bass producers Foul Play sampled it, and you can hear its influence in the music of 90s electronic luminaries Aphex Twin and Autechre.

Yellow Magic Orchestra split in 1983. If Sakamoto had left it at that and returned to modern classical music, he would already have earned himself a place among the era’s greatest pop innovators. But with the release of Nagisa Ōshima’s film Merry Christmas Mr Lawrence, in which he also starred, he began a career as a soundtrack composer that clearly suited his temperament far better than the Beatlemania-like scenes Yellow Magic Orchestra had provoked at home. It would lead him to work with Bernardo Bertolucci, Pedro Almodóvar, Brian De Palma and Oliver Stone, among others, and be showered with awards, including an Oscar and a Golden Globe.

But the vocal version of Merry Christmas Mr Lawrence’s haunting main theme, retitled Forbidden Colours, also cemented a partnership with former Japan vocalist David Sylvian that had begun with the 1982 single Bamboo Houses/Bamboo Music. Along with Can’s Holger Czukay and experimental trumpeter Jon Hassell, he became part of Sylvian’s repertory company for a series of extraordinary albums that attempted to reimagine 80s pop in a more expansive, exploratory and pensive way.

They seemed to reflect Sakamoto’s own position within pop after Yellow Magic Orchestra. Sakamoto’s solo albums largely contained music that existed at one remove from whatever else was happening, in a space where he could follow his own path. On 1989’s Beauty and 1991’s Heartbeat, it sometimes seemed as if he was constructing his own brand of the exotica that had entranced YMO, blending eastern, western and African influences together, assembling eclectic and improbable guest lists that, on Beauty alone, included Youssou N’Dour, Robbie Robertson, Robert Wyatt, Brian Wilson and Prince protege Jill Jones.

It wasn’t as if Ryuichi Sakamoto needed to be at the centre of pop culture in person: thanks to sampling, the centre of pop culture was never that far from his music. In recent years, it’s been borrowed by the Weeknd, Justice, Burial, the Beastie Boys, Jennifer Lopez, Brandy and Freddie Gibbs.

In the late 70s, the other members of Yellow Magic Orchestra had called him the Professor, a jokey nickname that contrasted Sakamoto’s intellectual bearing with his unwanted role as the group’s main heart-throb. It was a title Sakamoto seemed to grow into more and more in his later years: recording minimalist albums with German artist Alva Noto, providing ambient scores for art installations, releasing live orchestral and solo piano recordings of his compositions. There are clips of Yellow Magic Orchestra in the 2017 documentary Coda, which showed Sakamoto returning to work following a diagnosis of throat cancer, but it’s still hard to square the young pop star who stares imperiously down from his apartment wall in a portrait by Andy Warhol with the man in his late 60s, learnedly discussing classical organ chorales, the purity of the sounds he recorded during a trip to the North Pole and whether a piano going out of tune represented “matter struggling to return to a natural state”.

The album Coda depicted him working on, async, was released in 2017. It combined Bach-inspired piano pieces with monumental drones, distorted synthesisers and ambient field recordings. The artists who lined up to remix its tracks came from the leftfield cutting-edge of electronic music: if you wanted evidence of how widespread Ryuichi Sakamoto’s influence was, the fact that his work was clearly an inspiration for the likes of Arca and Oneohtrix Point Never and had been sampled by Jennifer Lopez on a US No 1 single seems a reasonable place to start. Contemplating his mortality in 2017, Sakamoto said he wanted to make “music I won’t be ashamed to leave behind – meaningful work”. By any metric, he already had.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

#JUST FOR BOOKS #Ryuichi Sakamoto #in memoriam

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soranihimawari · 2 years

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Darling, if you Dare

Pairing: Miya Osamu x reader

Word count: 2.5K

Rating: MOF [miya osamu fluff] //17+ for language

Warnings?: inarizaki shenanigans//being locked in the club room with crushes

Notes: lowercase intentional & these two have this kind of relationship below

“miya osamu! you are insufferable!” your voice echoes across the promenade. surrounding students wait a moment before the chatter begins again and you hastily walk away from the rest of your fellow third years with a notebook in hand. said galaxy gray haired twin smirks up at you, raising his hands to claim his innocence.

“i’ll send ya my part o’the project tomorrow, ok?”

“nine-thirty tonight, miya or else i’m talking to sakamoto-sensei about taking your name off the presentation.”

“what?! can’t ya ask fer an extension?”

“the project is due tomorrow, dumbass.”

he checks his phone’s calendar and in bold letters the midterm project for that class in particular is staring at him in the face. why did he have to take art history, he didn’t know, but it was an elective credit and he needed one more art to satisfy the requirements necessary for graduation. bonus of being in this class was attending it with you. you were desk mates since first year and frankly, when you accidentally left a sketchbook behind in the gym after class one day, the volleyball club thumbs through it only finding case studies of different students from the perspective of the artist. the giveaway hint was one of osamu asleep during morning traditional japanese literature—they had just come back from an overnight away game—the clock read nine-forty. it was a rough sketch, the only detail? the undercut and vbc hoodie he wore with his textbook open. he remembers that day because you covered for him when he woke up to the teacher calling his name to ask a question:

“sir, he wasn’t feeling well,” you cleared your throat. “hay fever, i heard him in the hallway…”

miya osamu mouths his thanks and goes back to sleep. his muscles on his face make him smile peacefully at you. thanks to that encounter, there were many more to be had: lunch the next day, you were feeling kind of blue because you forgot your lunch at home, but you found an extra bento with his handwriting—girls from other classes were crowding your desk jealous of the gift. you stubbornly sit down and see what they were staring at, the box with chipped lime green paint was slightly warmed and inside were onigiris with little salads and cut star fruit. the girls scatter when they hear the twins argue in the halls, but the blonde one stops and points at his brother’s classroom.

“they’re pretty cute,” it’s all miya atsumu says and osamu glances at your smile. you’re three bites into the first umeboshi onigiri and you’re clearly enjoying it. shortly thereafter, when his brother leaves to take a make up quiz, osamu joins you. he introduces himself and after you do too. you thank him with the empty bento, holding the note in your other hand. sliding your phone out of your pocket he noticed the series of numbers you’re saving in your contact list. his vibrates during study hours before final period begins. months later, you’re glued by your classmate’s side as a barrier between the crazy fans of his and the ones for his brother who actually learn to back away when you’re with them. you explain to them the reason why these girls don’t wish to quarrel with you because of your pretty gangster look; the boys laugh. until you said your grandfather ran an underground armstice in hokkaido. you’re visiting him next week for vacation.

“yer kiddin’, right?” atsumu asks worried there was some truth to that.

“nope,” you smirk. “gramps was a bit of an odd ball. always looking over his shoulder, but when you’re in the business of buying guns, you could assume he had a few policemen in his pocket too.”

osamu lets out a low whistle instead. he’s beside you, mentioning he doesn’t care about your family’s yakuza ties.

“like at all,” much to his brother’s displeasure. “c‘ mon, ‘tsumu. yn said it was her grandfather. this was what? post great war two?”

you nod. “so there’s absolutely nothing my favorite sibling terrors should worry about, yeah?”

atsumu reluctantly nods asking for a souvenir while osamu asks for a recipe book about regional fishes. you promise to bring the gifts next week.

presently, you spot a fox with a snack bag from the school store. three years you’re familiar with the volleyball team; three years sharing a room with miya osamu and you’d think he caught on to how serious you are about fine arts classes. suffice to say when you decide to ambush him about the art history project you’re asked to be his partner for (he was absent because of extra practice before nationals), he puts schoolwork on the back burner leaving you to do almost eighty-five percent of the work. that includes creating a replica expressing the themes of what the original artist and painting were trying to express. luckily for you, the project subject you suggested was photorealism and being naked as a natural state. you had two months to work on it and now the day before it’s due, you confront the infernal free-rider with a fury rightfully placed on him. osamu’s gray hazel eyes glimpse up at you and he sees his heart slow down. sure being disappointed in losing a game, being scolded by his ma, and arguing with his brother all made its way to the surface of his face to hide the bit of shame attached to these. but being scolded by you, his other close friend, for honestly not pulling his own weight for this class you convinced him you needed to take to get into the art program at TUA was far worse—it was like being scolded by an ex, although in his eighteen years of life, he’s only had two.

“hey yn-chan,” casually you walk past suna, best friend extraordinaire to the person who had received your wrathful outburst.

“not now sunarin,” you grit your teeth before placing an awkward smile on your face contrary to the irk mark on your brow. “i’ll see you later. and tell ‘im to get his shit together.”

suna walks up to where his friend was sitting, offering a precious chuppet to the would be chef.

“what did you do? yn is pissed,” suna watches you leave and his attention turns to his friend who sighs into his hands.

“forgot about a projec’ we was doin’,” osamu explains. “we had nationals to worry about, but i could have started it and now…”

“it’s due tomorrow and yn did all the work?” suna guesses, osamu groans. “skip the last half of the day.”

“huh?”

“skip the last half of the day, go to the library or museum and work on the project. i’ll cover you because your brother is gonna be a bitch today.”

suna says this and the tea he spills about atsumu being dumped by the class vice president is hitting the rumor mill tonight on the student body’s social media tonight. osamu doesn’t think twice before grabbing his stuff when you’re in the art club room before he heads out of campus grounds. he doesn’t want you to feel like he’s failed you even if it’s a school project. the club, his team, he could handle all that. but you? failing a project worth a good chunk of your overall grade could make or break your transcripts being accepted, that alone, would hurt his pride even more because it was something preventative.

isolating yourself after dinner that night to put the finishing touches on a painting to go with the written report caused your parents to worry a bit. it’s not everyday their talented child decides to forego family game night, but times were changing, as you said. around nine-twenty-seven, your phone lights up with an e-mail notification. you turn on your desktop and once it completely boots up, you open the attachments from one [email protected] you read his portion of the report about american painter chuck jones and were caught scoffing at the selfie he took in front of the exhibit banner. you text him a thumbs up saying you read and received his report.

two weeks go by and as the rest of the third year class makes preparations for the entrance exams for the schools of their choosing, you and osamu are called into the faculty lounge. this was a double whammy of both art history teacher and your shared guidance counselor asking you which schools you were considering taking the exams for and in a surprise turn of events, asking to include your finished project in the sample of sketchbooks being reviewed for admission.

“i'm considering tokyo u's art program for fine arts and art history,” is your answer. you’re the first one to speak and the last one to concur amongst the adults there of the extreme conditions of the exams, yet you have this indecipherable blaze around you it’s scary.

“culinary school for me,” osamu answers their question too with an equal attitude, shifting the focus to him. "maybe attend tokyo for an internship in the future." the teacher and guidance counselor chuckle saying the two tracks suit the two almost graduates before them.

"yn-san, bring your sketchbooks to the art club room next meeting for critique and review," sakamoto-sensei says clapping his hands. he was the art club sponsor this year and seeing the president of said club with this air of finality in their path, it is clear you are to achieve greatness in small steps.

once classes had let out for the afternoon, you receive a text from suna and atsumu to meet at the volleyball club room. there wasn’t any emergency as one would have predicted when you’re asked to stop by, but today was locker clean out day. the boys wanted both their vice captain and the supposed reason his cheeks flushes scarlet (when he misses a toss) to confront talk about their suppressed emotions. well, more like suna bet atsumu snack-buying for a week that osamu would crack first where the blonde bet that you would not crack one bit. regardless, when you greet the underclassmen from the club, they say their goodnights to you making sure to mention that you’re coming into the room in case anyone else was still in their draws. hearing osamu call out saying that it’s fine, you bump into a half-naked suna, pulling a shirt over his head and one fully clothed atsumu.

“are you guys walking home together?” you have this cheeky grin on your face. you wink at them when they deny everything saying they’d wait for you and samu. "i think that's cute, even if it's a bit elementary school-ish for me."

"oi!" atsumu says, crossing his arms over his chest.

"what? yn-san's not wrong," suna says. he then picks up his stuff signaling atsumu it's time to head out.

“you’re not going to do anything stupid, are ya?” you narrow your eyes. what you don’t see is osamu staring at his brother and best friend as they deny doing anything like, “oh, i don’t know. locking you in here with the person who has a crush on you.” (<-suna)

they leave with this determined look on their faces and you hate the fact you hear the door lock.

osamu sort of blinks then panics when you’re banging your fists against the door calling the two on the other side “dead bastards.”

you regain your composure when you feel osamu’s hands wrap themselves around your wrists, turning you around. he has this slight blush spreading across his face and down to his ear lobes. the space between you is practically non-existent because he asks if you’re ok with a pointed eyebrow since he tends to worry about you more than he does his own brother. it’s a gentle kabedon when he adjusts his grip on your wrists into a lighter touch, his bangs brush against your forehead.

“you’re too close ‘samu.”

holy hell, have your eyes always been this crisp? why, why are you looking at me like that 'samu? your thoughts are linearly curious.

“Oh, hah, sorry,” he said, allowing your hands to slip out of his hold.

you notice his duffle bag filled with clothes and old jerseys from the last three years he had joined and played with this club.

“you were one of the best wing-spikers i heard,” you compliment.

he smiles a bit, raising a hand behind his neck. of all the times for him to be nervous, this was not one of them.

“'m not like aran-senpai,” he says, but his chest puffs out with a bit of prideful air from your comment.

“did i say i was talking about aran-kun?” you arch your brow at him.

“...no.”

you move to sit down on the bench in front of his things. osamu sends this confused look to you as you pick up the second year white jacket with his name embroidered on the chest and his number on the sleeve.

“what're ya doing?”

holding it up against your chest, you’re hugging the cleaned jacket with a definite hold. it smells like the miya house on laundry saturdays–lavender and spring rain softener was used the last time it was done.

“can i have this one?”

suddenly, you’re shyly hiding behind the collar of the jacket. osamu chuckles a little before placing an open palm on the crown of your head, gently tossing your tresses to one side like you have it for picture days.

“i was going to give you my graduation pin,” osamu confides in you when he steps aside to sit down in front of you. the jacket is the only barrier between both your knees from knocking into the other. the weight of his confession knocks you forward with butterflies spilling out of your mouth.

“hah?!”

“ don't pretend ya didn't hear me the first time.”

“...mm.”

he chuckles, covering his mouth like he’d turn into a cough. you, on the other hand, choose to place your hands on his face, checking if he’s feeling alright or if he’s catching a cold. you’re too close again, but neither of you care.

“walk home with me and i'll tell you how i feel,” you say, your lips dangerously hovering over his for a moment before backing down completely. “now text those two assholes to open the door and let us out. please.”

picking up the jacket off the bench, you unzip it to wear outside when the door slides open and suna is seen with a surprised expression as you walk by, tugging the jacket closer to your body. atsumu to this day, swears he was the winner of the bet, however he was seen at the combini buying seven different bags of chuppets.

elsewhere in the neighborhood close to the miya residence, neighbors had said that the vice captain was seen locking lips with the president of the art club, just like he was going to after making yn-san listen to him spill his heart out. you regain your composure when he says something foolish like apologizing for not asking to date you until right now. you hold his hand and bring it to the small of your back. you are sneaky when threading your fingers through the belt loops of his school uniform, jutting him forward to crush your lips on his again. your kiss is hard and deep, and you show him how to tease you tongue into his mouth. it’s appalling you know how kiss him, it’s a shame he hadn’t known you like this either. who taught you how to kiss like this? it didn’t matter anymore because miya osamu obeys your every whim. he isn’t shy at all when he kisses you fervently spelling ‘mine’ skillfully with his mouth. you leave him gasping when you ask him to come over later, your side window remains unlocked.

miya osamu sneaks in around eleven that night. you chuckle saying you didn’t know he’d take up so seriously. alas, when he kisses you again as a greeting, you return his affections when you instinctively kiss him back—every ounce of ‘weak in the knees’ feelings they had harbored together boils to the surface. enough of the residual heat from this passion project causes you to sit on his lap on your bed, half dressed knowing this is as far as you’re willing to go with each other for one night. resting your forehead against his, osamu nudges his nose against yours saying he’s determined to make up for lost time, yet you agree with a hum. he presses a kiss to your hairline saying he should sneak back out before getting you in trouble. you instruct him to lay down, saying sleeping over is an option because you’re worried he’d land in more trouble at home. he faces you and you him, short lived chuckles and giggles echo in your room before kissing each other one final time, holding hands under the duvet.

it is said the pair stared at their future with a bold look of arrogant determination like they always did at school–because long distance is meant to work out for those who are daring enough to win at love.

#sora scribbles 2022 #🌻— flying around collecting pollen—queue #sora after hours #haikyuu x reader #miya osamu x reader #hq fluff: miya osamu

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mystummyhurtz · 2 years

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The fact that i haven't seen fan art of Yor from Spy x family and Sakamoto from Sakamoto days being hitman besties and talking about their families is CRIMINAL.

#spy x family #sakamoto days #taro sakamoto #yor briar #please i love these awkward 27 year olds

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orangejuuuice · 2 months

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bloodbath

#osaragi sakamoto days #osaragi #sakamoto days #sakamoto days osaragi #manga #fanart #sakamoto days fan art #sakamoto days fanart #sakadays #サカモトデイズ #digital art #digital illustration #illustration

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soup-scope · 10 months

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didn't know you watched jjk too :ooo

my interest in anime has been sorta dwindling lately but my love for certain series (jjk, csm, kny, sakamoto days) hasn’t faded yet 🤞🤞

(i have an anime oc account on instagram….. my @ is soupntrees… i’m not super active there but if u like my art and are a casual anime fan…. 👍👍 have fun 👍👍)

#rayrayasks #jjk is one of my most favorite series #my fav character is nobara #smooches #she’s my baby #i also love itadori with the passion of a thousand suns #i also dislike gojo very much #yeah his character is all good yada yada yada his writing is great blah blah #i just think he’s annoying

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giyyu · 2 years

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i wish more people read sakamoto days. i need fan art of shin 😭 i cant draw shit 💘

#sakamoto days

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dropintomanga · 1 year

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Anime NYC 2022 - New York Be Back, Y’All~

What a return. What. A. Full-fledged. Return.

After last year’s chaotic line mess, Anime NYC returned with a new panel queue system and revamped health check. This year's event was a possible glimpse of a full-on NYC anime convention would be like, post-pandemic emergency times. They were front-loaded with guests from top to bottom - one of which was the creator of Attack on Titan, Hajime Isayama.

While it’s impossible to check out everything, I had a fun time.

Friday was somewhat chill as I got to avoid the line for regular pass holders. It sounded like a bit of a mess from what I heard, but things apparently got better as the day went on. After the Press check-in, I went up to check out the riichi mahjong gaming area held by Riichi Nomi NYC and bought a lanyard from them that matched my now-mahjong state of mind. I did play with the group for a little bit before heading down to the Exhibit Hall.

At the Exhibit Hall, I bought some manga from Denpa Books and checked out their panel. What’s nice this year about the Denpa panel was the promotion of the BL imprint, KUMA. So not only it was Ed Chavez of Denpa fame talking, but also Andrea Donohue, the head of KUMA, who promoted a good amount of BL titles that I actually want to take an interest in. Especially a title called Crappy Happy Life because a gag BL manga is something I would eat up in a hurry. Ed would then talk about current and upcoming Denpa releases like the final volume of Inside Mari, the first volume of Under Ninja, TabeGirl: The Art of JUN, and the first volume of March Comes in Like a Lion. What really impressed me the most is the community that supports Denpa and I noticed how excited fans at the panel were about their books. There’s something else that happened there that I want to talk about, but that will be the main topic of a later post.

I also checked out the return of Anime for Humanity, the anime-centered mental health NPO that I volunteered for back in 2019. They got a booth this year and were still giving out Anime Therapy Kits. I caught up with the main guy I worked with there and talked about many things, anime and manga-related. I would see them through the whole weekend and donated to them as well. It was good to see AFH back.

After that, I just straight up left the convention because I wanted to go home and get my Kaname Date (AI: The Somnium Files, a game franchise which I wrote about) cosplay ready for Saturday and Sunday. While the Exhibitors’ Hall was packed, I never felt that it was congested as in years past.

Anyway, on to Saturday, busy, busy day. I went to my first ever Yen Press panel! It was nice to see the a good sized crowd show up and even writer TurtleMe (of The Beginning of the End fame) stopped by to talk about himself for a bit. There’s way too many books Yen Press announced and I won’t mention them all here. But Yen Press did mention an upcoming Toilet-Bound Hanako-kun box set and they licensed the Elden Ring gag manga that I heard about, so now I’m intrigued. I also wish them luck for their print release of Oshi no Ko.

I later checked out a Yakuza/Like a Dragon/Ryu ga Gotoku Studio meetup and it continues to amaze me to see how much the franchise has blown up since 2017. As a fan of the franchise before it became mainstream, I think Westerners like myself are super-spoiled with what’s to come. I don’t think it’s a bad thing because I think everyone should play RGG Studio games.

I next went to the Dark Horse Manga Panel. And they really did not disappoint. The big news was that Innocent by Shin’ichi Sakamoto is coming to the U.S. around Fall 2023. I would have never foreseen the day that this work would get licensed here. There’s a really good video of Sakomoto and his thought process on Archipel. He has made an emphasis on promoting about the value of manga despite Japanese readers treating it as “one and done” most of the time. Also, Carl Horn (who I love hearing talk about comics) mentioned how much manga has made a significant impact in America. He talked about how he brought a group of Japanese manga editors to a Barnes & Noble bookstore one time to check out its manga section. The editors were amazed that manga had its own unique section in a store that’s known for Western-centered material. It’s funny because a month ago, a friend and I were at a Barnes & Noble checking out the huge manga shelves on display. We had a conversation about how different it was back in 2009-2010 for manga fans like us in terms of promotion (Spoiler: it was dark times). To see how far we’ve come, it’s a bit surreal. We don’t get every manga licensed, but damn, the Americans who appreciate manga and work in promoting it know how to give the titles we do get the spotlight they deserve.

I also won a free NieR: Automata artbook at the panel too! I was the 1st winner out of 6!

I would later take part in a Zero Escape/AI: The Somnium Files meetup. There weren’t many people sadly including myself, but we all made the most of it. I was also amazed at the amount of people who recognized me as Date at the con. I’m so glad that there were fans who have played the Somnium Files games and I will always recommend the franchise whenever the games are on sale.

I did find out what happened in the Hajime Isayama panel that I didn’t get into. I heard that fans at the panel had a positive reception to Isayama ending Attack on Titan the way he did and that their reaction almost made him cry. Isayama wrote a message on Kodansha’s website prior to the event saying he knew the ending was controversial and that people should be kind to him. I wish he didn’t had to write that because the internet isn’t always real life despite what social media says otherwise. But I do get that for every few positive comments that get you hyped, there’s always that one nagging negative comment that overshadows all the positive ones. I’m glad that Isayama got a chance to meet people from the one country that really ate Attack on Titan up when it became mainstream.

Finally, as I left for the day, Saturday night was banging with DJs blasting hip-hop and fans dancing in front of the main exhibit hall entrance. I even recorded a video looking from above and it was, as the kids say, lit.

So onto Sunday. I went up to where the Community Stage was for the “Defending Manga” panel hosted by the brain behind Manga in Libraries, Jillian Rudes (who I finally got a chance to talk to in person at the Dark Horse panel). Unfortunately, it got canceled. I was really looking forward to seeing it too. It’s possible that someone might have gotten sick and given that COVID/RSV/cold/flu cases in the U.S. have gone up the last few weeks, it’s understandable to not let something spread at the con. I gave up on going to the Kodansha USA panel due to mental exhaustion, though I did hear what they announced and Witch Hat Atelier Kitchen, The Darwin Incident (I’m interested in this one the most), My Lovesick Life As a ‘90s Otaku, Limbo the King, a Magic Knight Rayearth paperback release and an upcoming Blue Period box-set stand out to me.

So I just decided to play mahjong with the Riichi Nomi NYC gang. Originally formed in 2020 by a small group of passionate New Yorkers interested in riichi mahjong, they have become a juggernaut in the North American riichi mahjong scene. Ever since I became a part of the club in the summer of 2021, Riichi Nomi NYC has gone from doing organized meetups to hosting multiple tournaments at their leader’s apartment and running a huge 2-day tournament of 70+ players in NYC in July 2022. They also made their anime convention debuts in 2022 at Anime Boston and Otakon with huge positive reception by both convention fans and staff. I felt that Anime NYC would be the perfect way to end the year for Riichi Nomi NYC and the culmination of all their 2022 success. This was the also the first time Anime NYC ever officially had mahjong in all of its 5 years of existence.

Riichi Nomi NYC absolutely killed it. They ran a 12-person tournament on Friday and a 16-person tournament on Saturday with little-to-no problems all while teaching newcomers and selling great merchandise. The gang did an excellent job in ensuring beginners weren’t frightened and that players already skilled in the game had a great time. I got a chance to play with 2 Cantonese-speaking players and I got a chance to show off my Cantonese outside of talking to family. We all felt a sense of communal/cultural pride that was wonderful and only something I could experience via mahjong, so huge props right there. I’m so proud of what Riichi Nomi NYC has accomplished and I’m looking forward to see what they do next year!

I finally went to Artists’ Alley and got some Spy x Family and Chainsaw Man goodies. The crowd over there wasn’t super-packed like last year’s. I also got a chance to check out the big Hajime Isayama “Thank You” message wall at Kodansha’s booth and I wrote something too.

Overall, I thought Anime NYC was fine for the most part. They really addressed the line problems last year to check-in at the con and for panels. The staff enforced an attendance cap for all 3 days and it showed. With only 4,500 3-Day passes sold, it wasn’t crowded to the point of being super-congested. I got to walk around crowds with little to no problems. I also liked how bag checks were replaced with walkthrough scanners unlike in previous years. Mask enforcement was hit and miss for the most part, but I felt comfortable because I wore a KN95 mask the whole time I was there, kept to myself a bunch, and was in parts of the convention center that were well-ventilated. I think the last part is key here because I honestly think great indoor ventilation on par with outdoor air levels makes going mask-less bearable in my opinion. Let’s not have the Anime Expo 2022 Artist Alley mess here.

I do notice that the Anime NYC panel lottery now makes panel hopping not as hyped as before. I know people sneaking into the biggest and coolest panels even when they were jam-packed was a thing and it was great. Those days might be over for the most part. But I do wonder about the after-effect since lines for other panels might become jam-packed as fans want to see what other options are there. However, I haven’t heard anything of that sort at all. I might be talking out of my butt here. I think the Community Stage helps to alleviate concerns and having panels there is refreshing. They provide a more fan-perspective view that’s needed and is sometimes missing in a industry-focused con such as Anime NYC.

I’m also now curious about Anime NYC’s continued co-existence with New York Comic-Con. This year’s NYCC gave a huge spotlight to anime and manga - arguably the best ever. VIZ Media did show up at Anime NYC, but there were really no manga promotions from them. Those seemed to be now saved for New York Comic-Con. I don’t think NYCC will supplant Anime NYC with regards to anime-related experiences, but I will admit that there’s things about NYCC on the manga side of things I want to check out now compared to Anime NYC.

Yet I will say, after cosplaying as Kaname Date, I still think Anime NYC is a good spot for underrepresented Japanese-related series. I found a small group of fans for AI: The Somnium Files (which wasn’t a hugely marketed franchise) somehow. Anime NYC still has some issues, but for me, it was worth going. The experience I had this year was far better than last year’s and this was due to all of the various people I connected with and the friends I already made who showed up.

So much love to the Anime NYC staff and here’s to 2023!

I will have a follow-up post (if anyone is interested) about a fan Q&A moment at the con that made think and reflect, so that will be up soon.

#Anime NYC #conventions #anime conventions #convention report #anime #manga #Hajime Isayama #riichi mahjong #Like a Dragon #AI: The Somnium FIles #2022 #manga industry

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c-40 · 1 year

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A-T-3 101 Ryuichi Sakamoto - Riot In Lagos

It’s very sad to hear of the passing of Ryuichi Sakamoto. In the 1970s he was mixing rock music with his classical training and this probably helped put him into contact with artists doing the same in the London, New York, and Berlin. He achieved mainstream success with the Yellow Magic Orchestra, like Art Of Noise I wrote about the other day tracks like Firecracker (1978), a cover of Martin Denny's orientalist exotica, became a hit with black audiences in the US (as well as mainstream British audiences Computer Games/Firecracker got to number 17 on the UK singles chart in 1980). Also, like Art Of Noise, YMO were early adopters of sampling and Ryuichi Sakamoto was a vocal critic of copyright law

Unlike the other founding members of YMO Sakamoto seemed to have a larger international presence. I first became aware of him through his collaborations with David Sylvian and the title song from Merry Christmas, Mr Lawrence. He acted alongside David Bowie in Merry Christmas, Mr Lawrence and wrote the score. In a recent interview he said regrets missing the opportunity to reconnect with David Bowie. Around 82-84 Ryuichi Sakamoto also appeared in many tv commercials on Japanese television

I’ve posted many Ryuichi Sakamoto tracks already and I hope to share many more

Riot in Lago was given a proper commercial release as a single by Island Records in 1983 after originally appearing on 1980’s B-2 Unit album. It’s fucking brilliant, a massive hit with electro fans and along with Was Dog A Doughnut, The Message, Planet Rock, Buffalo Gals, Beat Box et al pivotal in the development of hip hop music

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#1983 #ryuichi sakamoto #electro #tokyo #japan #80s music

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straycatboogie · 1 year

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2023/03/02 English

BGM: Ryuichi Sakamoto - aqua

Today I worked early. Now we are in March, and it seems like Springtime and can't feel that we were troubled once in a serious cold wave. Something nice would happen... and I wish I could meet the next soul mate in this life. At lunchtime, I started reading Haruki Murakami's "After The Quake". This is a collection of short stories influenced by the Great Hanshin-Awaji Earthquake, and I can remember that once I read and enjoyed deeply this book just after that big earthquake. And now, in other words after Great East Japan Earthquake, I read this and found another things. I have run with Haruki Murakami through this long life (I even tried to be apart from him because I have been too influenced). This is just my opinion, but he is a great popstar like Yukio Mishima and Bob Dylan for me (or I should recall Kurt Cobain because of the generation I belong to). As I wrote this once, I adored almost everything he has done.

But "After The Quake" is not describing Kobe, the place that earthquake happened, directly. The characters in this short stories are just the people who live far apart from the place of earthquake. They are living in a peaceful life from there although they learn what is happening on TV. The place of earthquake shows terrible scenery. But "here", the place far from there, shows a peaceful daily life... both is in the same one world. But there must be a clear gap/difference. I think that Haruki writes that kind of an unreal situation in this short stories. And I also have lived as the "watcher" like them about two big earthquake (Hanshin-Awaji and East Japan). But I admit that I have certainly been influenced or blown by those earthquakes' after waves (probably like other residents in this Japan). I remember that.

Remembering about that, those huge earthquakes let us made various artificial creations. Maybe this is from thinking too much, but I can remember instantly that Makoto Shinkai's "Your Name." is that kind of creation. In a way, that stance is the one of accepting the national problem of earthquake and creating serious arts from it. Maybe it can be "using" earthquakes to express themselves. Therefore, creators have to have a responsibility of "using" them (they have to create great arts as movies and novels). So I thought that it was a really difficult challenge. And, this is just my opinion again, I accept this short stories as a great and lovely one, and also I feel the fact that I am living a hard time, apart from that era.

This evening, I attended an online meeting on ZOOM. My personal computer got really aged so we have a weak connection (poverty hurts us), so I used my smartphone to attend. This time, we had a lecture about the influence to the Japanese food culture by black beans, and it was really impressing because of its detail. Yes, it was a really deep one might enable the days in Edo era, or I should say that it was almost great classical novels which appear samurai (indeed, I am not a good fan of those kind of novels therefore I might make a mistake). Next week, I have to do a presentation in this meeting. I want to talk about aphorism as I wrote once. Life has many waves, but I want to look up the sky as Oscar Wilde says. Or I want to talk about the experience of being embraced by Isaac Bashevis Singer's quote "Life is God's novel. Let him write it" when I was really a terrible bottom of my life.

#diary #english #journal #tumblr diary

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