#yuasa case

[autumnmobile12]

Okay, we all know what Mai is doing. She saw a child that turned out to be a malevolent ghost at the bottom of this manhole, so she's going down there to rescue them. We followed her point of view through this entire scene because Ghost Hunt is, for the most part, a limited first-person point of view narrative.

But consider this scene from Naru's point of view: He's doing some private investigating on his own, pursuing theories as they come. For the most part, he's calm but growing a little concerned about the escalating supernatural hostility against himself and his team. With all this on his mind, he's heading back to base and for whatever reason, he glances off into this empty field when suddenly--

"What the fuck is my assistant doing crawling into a sewer?"

Naru is a smart guy, but this is probably a moment when he was truly baffled by Mai's behavior. To his credit, he doesn't call her stupid for getting herself (and him) into the resulting predicament, but this could be attributed to him still computing why she thought this was a good idea.

#ghost hunt #mai taniyama #naru #kazuya shibuya #2006? man this show's old #yuasa case #love dub or hate it #todd haberkorn #'s delivery of this line perfectly encapsulated #wtf #nostalgia anime #nostalgia series

[witchhuntress]

Another Ghost Hunt rent-free

Naru when the ceiling was falling on Mai:

#Except he had nothing on his ankle #I would pay just to read his thought process at that time #was he really like either I dislocate her arm and du a Cirque du Soleil or lets bungee jump on her back no biggie #I’m sorry Jesus #or Naru rather #jvhchg #everything reminds me of him #this that case in Yasuhara’s school #was it Yuasa high school my memory faulty #ghost hunt anime #ghost hunt #ghost hunt light novels #this is so silly im soweee hfhg #Naru #Mai Taniyama #Kazuya Shibuya #Oliver Davis

[ogradyfilm]

Inu-Oh: Rebel Yell

From Lu Over the Wall to Ride Your Wave, animator Masaaki Yuasa’s films have always involved songs to some extent, but Inu-Oh is the director’s first proper musical—a centuries-spanning supernatural opera of epic proportions.

As in all great jidaigeki, the plot revolves around social outcasts resisting authority. In this case, our unlikely heroes are Tomona, a blind biwa player, and the eponymous Inu-Oh, a physically deformed dancer. Together, the subversive pair basically invents rock and roll a few hundred years early (adopting a style reminiscent of Michael Jackson, Prince, and especially Queen—with perhaps a pinch of Tatsumi Hijikata, the creator of Butoh, sprinkled on for extra flavor), resulting in a full-blown cultural revolution that challenges the staid, rigid traditions of feudal-era theater and earns the ire of the oppressive forces seeking to “unify” (i.e., subjugate) Japan.

As expected, Yuasa’s impressionistic visuals are as gorgeous as they are unique—indeed, as his career progresses, he’s proving himself to be downright aesthetically chameleonic. Whereas Mind Game experimented with mixed media, Lu Over the Wall paid homage to Max Fleischer, and Night Is Short, Walk On Girl resembled an Osamu Tezuka comic brought to life, Inu-Oh evokes classic sumi-e paintings, featuring sprawling depictions of the Genpei War that rival even those glimpsed in Masaki Kobayashi’s similarly themed Kwaidan.

The movie’s true excellence, however, lies in its audio—particularly in how the sound design shapes the imagery. When we “see” the world as our sightless protagonist perceives it, for example, such ambient noises as the patter of rain, the rustle of leaves, and the thunder of a horse’s hooves literally burst into splashes of watercolor, drenching the screen in vibrant shades of blue, yellow, green, and red. Thus, Inu-Oh delights the eyes and the ears in equal measure—a sumptuous feast for all of the viewer’s senses.

#Inu-Oh #Masaaki Yuasa #Japanese film #Japanese cinema #anime #Japanese animation #animation #film #writing #movie review

[alexsiple]

i'm curious about your inspirations (especially art, but also writing if you have any you want to mention), do you have any favorite painters/artists in general? i love hearing about where people pull their inspiration from so i thought i'd ask in case you'd be interested in telling about it! anyway i hope you have a great day!

omg thank you sooo much for such a cool question. i love talking about this sort of stuff... you're indulging me you sexy anon. anyway here's a few of my biggest inspirations >:)

edward hopper

gg dg (i really loved cucumber quest as a teen. i've followed all their work since forever and i think it's like. such an influence on me)

tadahiro uesugi

simon stalenhag

sara kipin

vincent van gogh

tsubasa yamaguchi

hayao miyazaki (too easy...)

masaaki yuasa

tove jansson

mary blair

also here are some specific works that have influenced me? because sometimes i'm not familiar with all of an artist's work or it's made by a lot of people but it's like. a formative piece for me (in terms of aesthetics mostly) lol

devilman crybaby

sailor moon

berserk

death note

spider-verse

persona 5 (...)

sleeping beauty (1959)

your name

very general list but these are things i go back to the most. thx again for asking. woo

edit: i realized you also asked for writing inspos. i can't pass this up. some of my inspirations are maggie stiefvater, richard siken, donna tartt, ocean vuong, heather havrilesky, maggie nelson, and gabriel garcia marquez. muah

#ask #anonymous

[mikiko-kawamoto]

I'm dumping my thoughts here cause I'm not attaching myself to anything, but. Can I be real? Devilman Crybaby is the way it is because it was 100% trying to copy how Re: Cutie Honey handled itself.

You think I'm joking? I am not.

We know that Crybaby pulled a lot of stuff from the live action film, sure. But seriously. Re: cutie honey was an animated adaption of the 2004 live action cutie honey film.

Wonder where Yuasa got that idea huh? (not like the live action and re shared a director)

There's a difference here though, where crybaby went wrong with pulling a lot of the same stuff re:ch did. Cutie Honey's manga is. Not Good. Sure they retained a lot of the same elements and tossed in some NGE references for good measure, but it's totally different than the source material... and it's enjoyable! (I'm aware it's horny. I know. It's Gainax and made by future Studio Trigger ppl. I know.)

Yuasa Also said that they pulled a bunch of stuff from other Nagai stuff. Re: Cutie Honey did the same. One of the antagonists Honey fights, Black Claw, is a combination of two characters from Mazinger.

honestly the biggest glaring thing to me that crybaby copied re is how it handled Natsuko.

Natsuko is often Honey's love interest in some adaptions.

Typically she looks like this.

in re: she looks like this and has a completely different personality.

however, there's another character in the story that Has her manga design, but a different name.

and said name comes from... yet Another go nagai manga.

Huh. I wonder... how familiar That sounds.

I rest my case.

TL;DR: Devilman Crybaby tried to be Re:Cutie Honey

#devilman #devilman crybaby

[writingbyrenae]

@abalonetea

Here's the rough concept: a human witch is taken to a supernatural island along with 10 - 11 other people, all men. The king of the island is immortal and never speaks to anyone but his direct underlings despite leaving his castle and wandering the island every day. The witch, who I'm currently calling Charlie Yuasa, is not thrilled about having been chosen to go to this place - I'm not sure if it's an honor or a punishment yet.

Anyway, not long after her arrival, one of the men who came with her is murdered. Charlie finds herself the only one willing or able to investigate the crime. Just when she thinks she's solved the case, however, another person is killed. It becomes obvious that someone is targeting her 'batch' of islanders. And no one is taking her seriously, not even the king. They just think she's a troublemaker.

Meanwhile, a young man called Atlas is sneaking around in the dead of night. Another pov character, he seeks to force the hand of the king and incite the islanders to act against this threat. Unlike Charlie, he takes the troublemaker moniker with pride, and even being labeled the culprit behind the murders doesn't make him stop. It just drives him on harder.

Really, Charlie and Atlas are more alike than anyone thinks.

I'm still trying to decide on comp titles. Right now all I can think of is Danganronpa x HP, but I'm not sure that's totally accurate much less a comparison I want to make...

#says renae

[kustas]

A day later having slept on it, here's some miscellaneous thoughts about inu-oh. Put under a cut for brevity's sake :)

don't expect anything in the disability representation department - one of the main characters is blind but it's not focused on. film doesn't do anything with it. the titular other lead's deal is similar to the red thread of Dororo but way more magical-fairytale-ish, so I don't think he counts, at all.

adding this edit much later (august 2022) as a precision: what I meant in my first point was that the movie did not, as I originally hoped, try to make any points about having disabled leads. There is a merit I originally overlooked in this too, of just having your characters be out there and chill. It might be to some, even better to have your representation not there to make a point, and just exist. That is the case here. Tomona's character avoids annoying to offensive tropes usually surrounding blind characters, he's a protagonist with his own rich life, and as far as I know, how his disability is represented is both accurate to real life and respectful.

despite giving as much care to historical accuracy as a rock opera with hair metal monks might do, the commitment to period-logical clothing and contraptions is very entertaining! and as far as i know, side character costumes, politics, and landscapes are historically accurate. might be interesting for someone unfamiliar with medieval Japan.

as someone who loves the concept of a musical but thinks musical theater has birthed some of the most annoying genres of music ever made by man, this was a welcome surprise. the songs are very good!

animation gets choppy in a few scenes but is otherwise a delight. there is extremely little cycles used, and some incredible crowd scenes and camera traveling shots.

the character designs were a huge highlight for me as someone who heavily dislikes the "anime" art style and is a major fan of Mastumoto's work. features who's absence I bemoan in anime and cartoons, like different facial features including "ugly", "imperfect" ones, varied body types and not making every good person conventionally attractive, are all there! they're also not afraid of weird ass zooms, like a good minute long closeup shot of a singing face with, to my delight, jumbled up teeth and badly shaved facial hair :D

it's a shame we don't get to explore the relationship between the two leads further. asides of being on stage, they have little scenes together and their lives are mostly implied. given the ending that i will not spoil, it would have been interesting to know more.

...as should be unsurprising for something Yuasa and Mastumoto both worked on, there isn't a single named female character. unsurprising, but still very dissapointing.

#serious media ramblings #inu-oh #also i was right. it IS inu as in doggy

[thezanyarthropleura]

Film Ranking and Retrospective

So, after evaluating all twelve Gamera films based on purely objective metrics like turtle spin velocity, character development, how much I cried, number of potential sapphic relationships, and least amount of tapeworm, here they are from favorite to least favorite:

Gamera the Brave

Gamera: Guardian of the Universe

Gamera 3: Revenge of Iris

Gamera 2: Advent of Legion

Gamera: Super Monster

Gamera vs. Zigra

Gamera vs. Guiron

Gamera vs. Barugon

Giant Monster Gamera

Gamera vs. Gyaos

Gamera vs. Viras

Gamera vs. Jiger

Gamera the Brave takes the top spot for being so much more than it needed to be, perhaps taking a few steps outside what makes a typically good monster movie to just be an all-around great film. Of course, the Heisei trilogy still aren’t far behind, balancing the two a lot better than the Brave does and building an excellent cast of characters to the point that the hardest decision on this entire list, and the one I’m most likely to go back on at any moment, is ranking these three films against each other. Super Monster reaches for the stars just like the Brave does, daring to be something wholly unique despite its objective flaws, and is held back only by a gut punch ending after the likes of which I can’t actually make myself put it higher than the Heisei films. And of course, the rest of the Showa films are still going to end up ranked lower by being products of their time and having a relatively limited approach to in-depth storytelling, but there are still some I find exceptional for more unique reasons than I once thought I would. I even genuinely like most of Jiger, it’s just so much sensory hell it can be tricky to watch.

But my goals during this extended fixation weren’t really centered on pitting the films against each other - there was a lot of discovery, too. About halfway through March I did something I hadn’t expected I’d want to at the beginning, and bought myself the Arrow Video complete Showa era collection, mainly to get a physical copy of Super Monster but also with the bonus of getting to see Japanese versions of all eight films. In fact, I’ve now seen the Showa films probably just about any way one can see them, be that the subtitled original Japanese version, the AIP dub or first import English version, the Daiei pre-international dub (which I’ve learned is a more accurate term than “Sandy Frank”), the MST3K edition, the MST3K KTMA edition, the MST3K Fanmade edition, or specifically in Gamera: Super Monster’s case, the Elvira’s Movie Macabre edition or the Cinema Insomnia edition that’s missing a whole third of the movie.

That’s quite a lot of watching the Showa movies, and I think really a big theme for all of this was gaining a better appreciation of those films, specifically Noriaki Yuasa and his vision. He imagined Gamera as a hero for children, specifically because, as a child himself, living through the second World War and its aftermath, he came to believe adults were untrustworthy and too easily swayed by propaganda, and if that doesn’t make him the most relatable kaiju film directer of all time I don’t know what could possibly top it. Screw Gamera: Rebirth, the next one should be Gamera vs. Fox News.

Oh, right, speaking of which, I haven’t talked about that, either. And that’s because most of the major reasons I like the existing Gamera films so much tend to be more happenstance, and have little to do with how well they’ve followed the franchise formula. So far, nothing about Gamera: Rebirth has told me anything about how well it will handle its human characters, whether any of their stories will be relatable to me personally, whether it’ll have a strong environmental stance like Zigra, and actually with what we’ve seen of the cast, it seems like there aren’t going to be too many women in this series at all. Of course, that could always change, and there’s always a chance the one lady we’ve seen in the trailers could be compelling enough on her own to still make it a favorite, like with Mai in Gamera the Brave, but we won’t know anything for sure until release. But if, as seems most likely, Rebirth really is just a throwback to the early Showa era, I think now I can be a little more okay with that.

(I do actually quite like the monster designs revealed thus far. If I ever go back and write that possible Gamera vs. the Teenage Mutant Ninja Turtles sequel, there’s a good chance of that magenta Neo-Jiger showing up in the Triceraton arena).

I think, if I were to put into words what makes Gamera unique among kaiju cinema, it’s that Gamera is most consistently a story about a giant monster interacting with humans, in most cases one or more specific humans. When I write for Toho kaiju (and by that I mean Battra), I’ll admit I’m basically just using yet another combination of the 37853590434 creative ways people have come up with to tell a story that’s still really about humans but using the monsters as the characters - and we do this because the monsters do have character. Unlike most giant creatures in the west, Japanese daikaiju represent things, they have emotions and personal values and life purposes, and often unique dynamics in interacting with one another. But you can’t really do much with just this side of things for the Gamera franchise, since there’s not a single monster in any of the full-length films whose relationship with Gamera is anything but antagonistic. But Gamera is already about the relationship between humans and monsters, and that was what I wanted to specifically take these couple of months to explore here, as it’s very similar to the stories I've already been straying farther from canon in order to tell with the friends and enemies of the other Big G.

As far as most of the western kaiju fandom is concerned, having such a focus on humans might appear to be the biggest risk the Gamera movies ever took, given how many fans I often see dismissing the human characters as unimportant at best, annoying at worst. Personally, I beg to differ, and the more I rewatch these films, the more I’ve begun to appreciate how remarkable it is that this one subset of historical foreign cinema, with the characters it portrays and the values it represents, became embedded in western culture all because there happened to be a market for imported special effects films. There are actually quite a lot of kaiju movies whose stories inspire me to want to write about the humans as well as the monsters. But the top of that list, if I wrote it out, would probably be stacked with more Gamera movies than anything else.

#gamera #kaiju #tokusatsu #yuasa noriaki #noriaki yuasa #gamera the brave #gamera super monster #gamera vs zigra #a lesbian reviews all the gamera movies #gamera march #gamera april

[saotome-michi]

Some thoughts about Inu Oh (spoiler warning)

General Rating: 3/5

Inu Oh was a beautiful movie and I will say that overall, I enjoyed it and am glad that it was made. However, there were a few areas where it really fell short and made what could’ve been a fantastic film just alright to me.

The music. Yes, I know I'm in the minority but let me explain. When I heard that the movie was merging rock and Noh, I was really looking forward to traditional Japanese instruments playing rock arrangements. But instead, in most of the songs the electric guitar completely drowns out the sounds of the biwa and other traditional instruments, and it just sounds like western rock music. It was disappointing to hear, especially when there are so many great examples of music that combine trad. Japanese elements and rock, such as anything by the Wagakki Band, Escape by Mr. 3, and Change by Monkey Majik ft. Yoshida Brothers. In fact, just google “Shamisen Rock” or “Shamisen covers” on youtube and you’ll find plenty of great performances. My favorite music scene in the movie ended up being the one where Inu Oh and Tomona meet for the first time and improvise on the bridge, because that's the only scene where you can really hear the biwa.

The animation of the performance scenes was also a let-down, mainly due to how many recycled scenes there were. Perhaps this was due to COVID restrictions or budget cuts, but either way, it got very tiring very fast and gave the scenes a lifeless feel. Also, the animation did not seem to really synch to the rhythm of the music or the singing of the characters.

The writing, especially in the last third. Oh boy, where to even start. Ok, first off, it was really unclear that the head of the Hieza Troupe was Inu Oh’s father. I didn’t realize that that was the case until we were 2/3 into the film so that whole plotline came from left field. Here’s my main problem though: If Inu Oh’s father sacrificed lives to obtain untold stories of the Heike then why was it not mentioned beforehand that he’d been performing those untold stories? Instead, his troupe was portrayed as a traditional Sarugaku troupe, implying that they had only ever performed the stories that people already knew. The lack of set-up for this storyline dampened the emotional impact of the climax of the movie and also did a disservice to Inu Oh’s character.

On that note, I would've preferred more character exploration of Tomona and Inu Oh, especially how Inu Oh felt as his body changed. Did he like his new face? Did he miss his longer arm? Did he feel like performing with his new body was strange, more difficult, affected his creative expression and style? A lot more time could’ve been spent on those two and their bond tbh

The storyline of the cursed sword was completely dropped. The last we see of it, the samurai were taking it to presumably their leader. It would've been interesting if the sword got to the shogun and he'd suffered the curse as well (the actual shogun Ashikaga Yoshimitsu is recorded to have died of sudden illness at the age of 49, so I feel like that could've easily been weaved into the story).

This is a very minor point but I felt like Inu Oh's "final" face just looked... wrong. Disappointing, but also like it didn't fit the style of the film. The final scene where shogun commands Inu Oh to stop performing his songs is a serious and important scene, but I couldn't help but be distracted by how mismatched Inu Oh's face looked.

All complaints aside, I still enjoyed this film. The first third, from the beginning biwa narration about the Heike up to the point where Tomona and Inu Oh first meet, was probably my favorite part. I especially loved the scene where Tomona and his father take the samurai to the Kusanagi sword and are then cursed by it. It was beautifully animated and shocking to watch. The aesthetic of the film in general was on point. Matsumoto Taiyou’s rougher looking character designs paired with Yuasa Masaaki’s distinct erratic animation style is a well-known combination at this point, but that didn’t make it any less exciting to watch and it worked for this story. If it weren’t for the pitfalls listed above, this could’ve easily been one of the best movies of the year. 

#inu oh #yuasa masaaki #犬王 #movies #anime #reviews #random blah of letters

[byneddiedingo]

Nobuko Miyamoto and Tsutomu Yamazaki in The Funeral (Juzo Itami, 1985) Cast: Tsutomu Yamazai, Nobuko Miyamoto, Kin Sugai, Hideji Otaki. Kiminobu Okumura, Hiroko Futaba, Chishu Ryu. Screenplay: Juzo Itami. Cinematography: Yonezo Maeda. Art direction: Hiroshi Tokuda. Film editing: Akira Suzuki. Music: Joji Yuasa. The Funeral has been compared to the films of Luis Buñuel for its satiric, sometimes almost surreal portrait of a bourgeois Japanese family, and to the Jean Renoir of A Day in the Country (1936) and  The Rules of the Game (1939) and for its amused look at people tempted by an unusual situation to cast off conventional behavior. But do I also detect something of an homage to Yasujirio Ozu? There's a wonderful cameo by Ozu's favorite actor, Chishu Ryu, as the Rolls-Royce-driving priest, of course, but there's also something about the quiet, almost meditative ending, after the turmoil of the arrival of the mourners, the wake, and the funeral itself, when Kikue Amamiya (Kin Sugai), the widow, gives her heartfelt eulogy to her husband. Until this point, Kikue has hardly shed a tear while going on with the endless preparations and the inevitable unexpected screwups. But mostly, it's a Juzo Itami film, not so raucous as Tampopo (1985), but as witty in its treatment of human obsessions. In this case, it's the obsession with doing things right, especially on the part of Wabisuki (Tsutomu Yamazai), the son-in-law of the deceased, who with his wife, Chizuko (Nobuko Miyamoto), wants to follow Japanese tradition to the letter, even though both of them are very modernized people. Both are actors, whom we first see filming a TV commercial, and they want to get things staged just right. But since neither has experienced a traditional Japanese funeral, they resort to watching a video called The ABCs of the Funeral, which explains all the elaborate protocol involved. Inevitably, things get more complicated, particularly when Wabisuki's mistress shows up, gets drunk, and drags him into the bushes for sex. There's also the wake, where there's more drinking and a problem of getting the inebriated guests to go home, most of which is shown in a wonderful long take in which we watch outside the windows of the several rooms where guests are being urged to leave. Even the cremation takes a macabre-funny turn when the oven attendant invites the mourners backstage, as it were, to discourse on the difficulties of turning a corpse to ashes. The Funeral is a bit overlong, but it has heart to compensate for its bite.

#The Funeral #Juzo Itami #Nobuko Miyamoto #Tsutomu Yamazaki

[baby-prophet]

hey hello glad to hear youve been feelin better ※(^o^)/※ as for reccomendations i know youve seen the night is short walk on girl so if u havent already i would reccomend also watching the tatami galaxy (or any yuasa stuff you hacvent seen tbh) oh and as for music ive been listening to Destiny / Harumakigohan & NILFRUITS feat.Miku Hatsune & v flower over and over personally(^_^♪) or in case u arent into vocaloidElohim - She Talks Too Much (Gosh Pith Remix) is also good, sorry thats a lot of words lol hope ur night is good<3

I started watching tatami galaxy in like high school and it started my yuasa obsession!! I don't remember if I finished it or if it was like how 90% of watching tv shows goes where I forget what I'm doing half way through it tho.. I used to listen to elohims song hallucinating all the time in like 2017 so I'll def check that out!! i can't say I've listened to much vocaloid music on my own but I do enjoy a large variety of music and qhat I have listened to from the genre I've liked so ill also check that out!! thank you for the recommendations :)

#also never apologize for words i love words lmao #asks #anonymous #norm.allie #ill keep you updated on what i think~ #im really bad at finishing things.. like all things in general lol

[autumnmobile12]

Mai as an Adult Headcanons

All right, so while I am aware Mai is canonically good with kids, I'm also going to point out the high probability that after 10+ years working as a ghost hunter, she might grow to be really, really wary of children.

Simply put, she doesn't have the best track record:

Dollhouse Case: Sure, Ayami's cute, but the posse of ghost children out to cause harm to the family and team (admittedly through no fault of their own) sure weren't.

Yuasa Case: Lured, and physically pulled, into sewer by a creepy ghost girl.

Christmas Case: Possessed by a child, followed a co-worker around thinking he was her dad. (Nothing harmful, but definitely a weird afternoon for all involved.)

Rokuryou Case: Trapped in the biology lab by horde of giggling ghost children.

Yoshimi Case: Several unsettling encounters with two possessed and homicidal kids. (Not that they ever did anything to directly harm someone, per se, but...)

Second Schoolhouse Case (Post-anime): An entire classroom of ghost children (and their teacher) trapping people inside their school, never to be seen again.

Agawa Case (Akumu no Sumu Ie): Nothing particularly scary happens with the ghost children, but this one was just sad all around.

...

Yasuhara: I thought you liked kids.

Mai: I used to, but after ten years of this shit, you start to see kids as potential jump scares you stay away from.

Yasuhara: ...wait, are you still upset about that Christmas--

Mai: I wish Monk had never told you that story.

#ghost hunt #mai taniyama #ghost hunt headcanons #ghost hunt anime #ghost children #young adults

[tomushrooms]

TO/NIA April 6-8

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News

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Wild blueberries / bleuets sauvages (NB) …. $20/bag (2kg bag)

Elderberries (ON) .... $35/Bag (2kg bag)

Haskap berries / camerise (blue honeysuckle) (SK) …. $30/bag (2kg bag)

Saskatoon berries / baies de Saskatoon (ON) …. $30/bag (5lb bag)

Seabuckthorn / argousier (SK) …. $45/box (5lb box)

Wild plums / prunes sauvages (QC) …. $40/bag (2kg bag)

Cloudberries (NOT IQF, QC) .... $110.00/bag (2kg bag)

Frozen Mushrooms (IQF)

Porcini whole …. $26/kg bag  

Porcini cubed .... $18/kg

Chanterelle …. $20/kg bag

Black trumpet .... $20/lb bag

Morels .... $22/lb bag

Truffle Products

White and black truffle oil, 250ml .... $22

White and black truffle oil, 100ml .... $15

Whole black truffles in oil, 40g .... $25

Truffle carpaccio, 220ml .... $50

Tartufata, 300ml .... $25

Tartufata, 90ml .... $15

Truffle honey, 340g .... $25

Truffle honey, 128g .... $15

Truffle salt, 400g .... $40

Truffle zest, 150g .... $30

Truffle zest, 50g .... $15

Small metal truffle slicer .... $26

Small wood truffles slicer .... $40

Large plastic truffle slicer .... $50

Large Fancy truffle slicer .... $100

Specialty Items

Birch syrup (QC) …. $85/1L bottle, or $300/4L jug

Sweet clover extract (QC) .... $20/130ml

Sweet clover extract (QC) .... $110/1L

Maple syrup (amber) …. $55/4L jug

Sour cherry juice (ON) …. $16/1L

Yuasa Shiroshibori White Soy Sauce ....$14/200ml

Hichifuku Shirodashi Soy Sauce .... $24/360ml

Marunaka Shoyu Soy Sauce .... $36/720ml

Katsuo Ponzu ... $10/300ml

Junmai Fujisu Rice Vinegar .... $22/500ml

IIo Jiozo Shabu Shabu Rice Vinegar .... $30/360ml

Saskatchewan Long Grain Wild Rice .... $17/lb

Dried Flowers /Herbs/Spices/Seaweed

Juniper berries (QC) …. $16/100g

Sweet gale leaves (QC) …. $14/100g

Sweet fern leaves (OC) .... $12/100g

Sweet fern catkin (QC) .... $34/100g

Balsam fir tips (QC) …. $13/100g

Spruce tips (QC) …. $12/100g

White pine needles (QC) .... $12/100g

Labrador Tea (QC) .... $15/100g

Wintergreen (QC) .... $22/100g

Fennel pollen …. $22/oz

White pepper (whole) …. $30/kg

Cardamom (whole) …. $45/kg

Kombu …. $15/100g

Irish moss …. $15/100g

Dulse …. $15/100g

Alaria …. $15/100g

Nori …. $15/100g

Sea lettuce …. $15/100g

Finger kelp …. $15/100g

Dried Mushrooms

Black trumpet .... $55/lb

Porcini (1st grade) .... $66/lb

Porcini (2nd grade) .... $50/lb

Porcini (3rd grade) …. $40/lb

Porcini powder …. $30/lb

Morels …. $175/lb

Chaga …. $25/lb (powdered or chunks)

Chanterelles …. $60/lb

Oyster .... $18/lb

Shiitake ... $18/lb

Matsutake .... $70/lb

[blogaarti]

Battery Market – Current Trends and Growth Drivers Along with Key Industry Players 2029

The global battery market is largely driven by the automotive industry. The use of batteries in two-wheelers and four-wheelers for starting, lighting, and ignition (SLI) applications has increased significantly due to the robust growth in vehicle manufacturing across the world. Moreover, government efforts to boost automotive battery production are also expected to bode well for the global battery market. In emerging nations, the switch to electric mobility has invited many investments in battery manufacturing and development, creating novel outcomes across the battery market. In addition, incentives directed towards advancements in cell chemistry and the manufacturing of lithium-ion batteries are predicted to unlock fresh demand for lithium-ion batteries. During the forecast period, such developments are likely to influence M&A, cross-collaboration, and rigorous R&D in the battery market.

 For More Industry Insights Read: https://www.fairfieldmarketresearch.com/report/battery-market

 Strong Adoption of Electric Vehicles (EVs) Opens Lucrative Business Prospects in Biofuel Additives Market

Next-level innovation in the field of electric mobility has created lucrative opportunities in the battery market. The increasing use of batteries in EVs and hybrid EVs is expected to support the growth of the battery market. Moreover, the production and demand for lithium-ion batteries have been witnessing positive outcomes due to their functional properties. In the coming years, the rising sales of EVs, coupled with the emergence of enterprising EV start-ups and positive consumer perception of EVs, are poised to unleash profitable outcomes in the global battery market. Notably, the battery market will also attract promising investments from climate-conscious public and private organisations due to the resounding global call to curb carbon emissions and transition towards cleaner energy sources.

 Lead-acid Battery Registers Higher Demand in Biofuel Additives Market amid Rising Use Cases of Lithium-ion Batteries

The adoption of lead-acid batteries has been steadily increasing. This is due to their use in a variety of applications, including EVs, uninterrupted power supply systems, transportation, grid-scale power systems, and telecommunications. The growing use of uninterrupted power supply systems in heavy industries is set to augment the demand for lead-acid batteries. On the other hand, lithium-ion batteries are becoming increasingly popular worldwide. The major use of lithium-ion batteries is in electric vehicles which is steering their demand. These batteries are also used in grid storage applications due to their low maintenance requirements, lighter weight, and high energy density. Consequently, lithium-ion batteries are likely to replace lead-acid batteries in some applications, further expanding the battery market.

 Growing Adoption of Electric Vehicles Enables Asia Pacific to Gain Market Lead in Biofuel Additives Market

The battery market in the Asia Pacific is projected to see significant growth in the coming years driven by the increasing use of batteries in the automobile and consumer electronics industries. The increasing adoption of electric vehicles is also expected to drive the demand for batteries. Government efforts to achieve carbon neutrality targets, such as subsidies for electric vehicle adoption, are predicted to support market growth. Additionally, factors such as population growth, rising GDP, and a growing customer base for EVs are poised to fuel the expansion of APAC’s battery market.

 Leading Market Players

Major players in the battery market include Johnson Controls, GS Yuasa International Ltd., BYD Company Ltd., NEC Corporation, HBL Power Systems Ltd., Tata AutoComp GY Batteries Pvt. Ltd., Luminous Power Technologies Pvt. Ltd., Okaya Power Pvt. Ltd., and Exide Industries Ltd.

 Get PDF Sample Copy of Battery Market at https://www.fairfieldmarketresearch.com/report/battery-market/request-toc

#battery market #battery #battery market size #battery market share #battery market trends #battery market demand #battery market growth #battery market analysis #battery market report #fairfield market research

[ipesrltechnologies]

Batterie Per UPS with a Complete Guide and Warranty

Uninterrupted Power supply or UPS systems are the basic need of any household and commercial space to keep the power supply continues in case of mains failure or outage. UPS systems are the combination of inverter and battery packs that are connected to each other and stay idle until the mains fall. Regular use of battery packs for years may require a change or replacement to keep their functioning properly and always high. Choosing the right type of Batterie Per UPS will be an important decision to make. You have to choose the best range of batterie per UPS and get delivery according to your requirement. A complete guide is provided to you that will be a plus point to choose what exactly you are looking for. You can place your order from anywhere and get the best range of battery packs.

Online search will save you time and money and you will be able to reach the top distributors or a wholesale supplier. They also provide you with batteries for sirens and other devices too. In simple words, you can choose from a new range of Batterie Yuasa to place your order for the right type of Batteria Sirena allarme and from batteria 12V 7Ah to Batterie al Piombo, Batterie per UPS, Batterie FIAMM, Cavi allarme, Cavi Antincendio, you have more and more options to choose the right one of your choice and get delivery on time.

It depends on your requirement and type of device or system, for which you are looking for the right battery pack; you can choose the right models of battery packs and get them with a complete user guide right to your address without any delay.

Which Way IS Helpful in Choosing Batterie per UPS

Go online and it is counted as one of the convenient ways to help you in getting what exactly you are looking for. Before placing your order, it will be better to know about the features, manufacturer’s warranty, installation support guide, customer care (in case of any problem), and brand name and then place your order. Place your order for batterie per UPS and get delivery on time.

#Batterie Per UPS

[ridley-was-a-cat]

Wolf's Rain - This is kind of a hard one to talk about since I haven't actually seen the whole series. I put on the series that's on Crunchyroll, and was getting into the story of four wolf boys on a quest to find a legendary Paradise while struggling against various other interested parties in a post-apocalyptic world, when suddenly there were four recap episodes in a row. Just as I got past those, the show ends at episode 26, but the story doesn't conclude. For the actual ending, you need to watch the four-episode OVA, which isn't on Crunchyroll, and is only on Funimation dubbed in English. I ended up so annoyed at this sloppy presentation that I kinda don't even want to bother trying to track it down and watch it. It felt like it was going to have a tragic ending anyway, which I don't enjoy, so maybe it's all for the best. 7/10

Tatami Time Machine Blues - I've been waiting for Disney to stop sitting its fat ass on this series and release it in North America, so I watched it almost immediately after it dropped on Hulu. Picking up the sequel to a beloved series directed by Masaaki Yuasa takes some guts, but Shingo Natsume, who directed Sonny Boy, was definitely up to the task. It looks different, to be sure, but is equally stylish in its own way, and retains that youthful experimentation vibe that I associate with this series. Story-wise, I really enjoyed how they handled the time travelling, as every time travel story has its own take on how a time paradox would work out, and got a good chuckle out of each character's differently irresponsible college student actions. A fun short series. 8/10

Gintama Ep.1-25 - This is one of those shows I've been conflicted about starting because it looks like it has an equal chance of being amusing or infuriating. And that seems to be the case, as when this show is funny, like when it spends an entire episode on the tense battle for dominance when splitting hot pot with friends, it is very funny. But when it is not funny, like when it tries to see how many times it can say the word "retarded" in a single episode, it is tedious. It's more good than bad, but I think that if I tried to watch the series straight through week after week, the unbearable teenage boy energy would exhaust me, so I'll probably watch this here and there when nothing else appeals.

#Wolf's Rain #Tatami Time Machine Blues #Gintama #anime