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December 18, 2019 By: MoA (Translated by gyanyao & Porew ), 27558 views
From "JoJo: Golden Wind" comes business suits! Giorno & Bucciarati are ready for action!

From "JoJo: Golden Wind" comes business suits! Giorno & Bucciarati are ready for action!

From TV anime “JoJo's Bizarre Adventure: Golden Wind” comes blazers and pants (slacks) which can be worn together as business suits inspired by Giorno Giovanna and Bruno Bucciarati. Pre-orders are available at “Premium Bandai” until Dec. 26, 2019.

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September 16, 2020 By: Akebono Mine (Translated by Porew & NN ), 27307 views

All 27 "Crayon Shin-chan Movie" series can be streamed for free! "Crayon Shin-chan: Honeymoon Hurricane ~The Lost Hiroshi~" appears for the first time on ABEMA

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March 24, 2021 By: MINAMI (Translated by gyanyao & James ), 25619 views

Souryo Slot “Fucked by My Best Friend” Promo Video with the Voices of Furukawa Makoto and Yamamoto Kazuomi

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June 16, 2020 By: Takahashi Katsunori (Translated by YK & NN ), 17614 views

Which anime has the most impressive raining scenes? Weathering with You, PSYCHO-PASS, Kiki’s Delivery Service…Beautiful rain, the characters with special abilities, and stories are the important factors!

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February 19, 2020 By: Nakase Koutarou (Translated by gyanyao & Porew ), 12624 views

"Collaboration Suits" inspired by Giorno & Bucciarati from "JoJo: Golden Wind" are released!

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March 26, 2021 By: Akebono Mine (Translated by gyanyao & Lbin ), 12234 views

“Fly Me to the Moon” A Good Night Kiss Scene! New OVA “~SNS~” Promo Video Released! Release Date was also Announced

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7th
January 16, 2020 By: MoA (Translated by YaruJan & Dale ), 11559 views

"Detective Conan" TV Anime Broadcast on Youtube every day! Official Youtube channel start

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March 18, 2020 By: Takahashi Katsunori (Translated by Porew & Slothpaca ), 9800 views

The Bikini Model × Karate Manga, "Hagure Idol Jigokuhen" gets a Live-Action Adaptation Movie! Cut-scenes have also been released

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February 25, 2020 By: MoA (Translated by YaruJan & Kenta ), 9311 views

Hanazawa Kana shows her see-through dress style! Photobook with provocative cuts on sale

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October 25, 2019 By: Tsubasa Matsumoto (Translated by Tuath4 ), 7920 views

The 2nd Info Movie “Kimetsu no Yaiba : Demon Slayer” Debuted! Will be Released in 2020

Movie “Kimetsu no Yaiba : Demon Slayer” Infinity Train arc decided to be released on 2020. The new teaser and visual has been released on the 2nd info.

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The 2nd PV for Ahiru no Sora has been released! Don’t miss out on the hot scene featuring a freakishly tall basketball player!

The 2nd PV for TV anime Ahiru no Sora has been released and features the passionate plays of a freakishly tall basketball club member. Broadcasting information was released at the same time. The series will be aired on TV Tokyo’s channel 6 starting on October 2nd.

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“Belle”: “Wrong righteousness” in fiction and the salvation being provided from it 【Fujitsu Ryouta’s Anime no Mon V Part 73】

※This article will mention the important point of the movie “Belle”. There is a small railway crossing near the house. When a child was young, I remember crossing it every day when taking him to the kindergarten. I always get nervous to cross it with a child and simulates anything “you wish not to happen”. First, if a child was left on the crossing and unable to move due to some trouble, what should I do? Since I already have a solution to this, so there is no problem. Then, what if someone left on the crossing was a random child or an adult, what should we do? The solution is “to push the emergency button and refrain from entering the railway”. However, if you did it but ended with unsatisfied result, is there not any regret? For me, I am certain that I will live with the strange emotion until I die. There might be the action that only you could conduct. Meanwhile, you question yourself that you went against it because of “righteousness”. You will blame yourself that you were just scared. You never can get the complete decision because you never would know the decision you did not take and you cannot stop blaming yourself. If you could give the clear solution, you do not have to keep reading from here. That is one way to cope. As a reminder, the relationship between “difficultness of giving a clear solution” and “Belle” will be discussed from this point, so there will be no value for the people, who can give the clear solution to the complex issue. The fictional story “Belle” has a strong connection between “unclear justice”. The central factor of “Belle” is the relationship between a mother and a child. The protagonist Suzu (Full name: Naitou Suzu) lost her mother when she was young. Her mother died by drowning after jumping into the overflowing river to rescue a child of a stranger. Since that day, a complex question, “Why did my mother leave me that day?”, stays inside her. She lost her willingness to sing, which was her favorite thing to do, and now she is a high school student. Realistically, the action of Suzu’s mother is “incorrect”. An untrained person should not attempt to rescue until the professional life savers arrive. There is a scene of her mother negatively explained on the internet in the movie. However, this mistake is the important factor of the movie and the reason why the fiction movie is fictional. Then turning point arrived on Suzu. She registered to the virtual reality of the internet “U”, naming her avatar-As as “Belle”, and learns that she can sing inside “U”. Belle becomes the popular being in “U” in less than 6 months. She then meets “a Dragon”. “Dragon” is hated by people of “U”. He is the continuous target of hate from the peacekeeper of “U”. However, Belle is curious of the Dragon, and the story of them begins. Dragon gradually loses his territory in “U”. To rescue the Dragon, Belle now has to find the identity of Dragon, in other words, the player. She luckly finds out that the player of the Dragon is a older brother (Kei) of the siblings that have, who has been abused by their bossy father. Suzu begins to communicate through the video chat, but Kei does not believe that Suzu is Belle, and rejects the offer of help provided by Suzu. Suzu has to prove that she is Belle to help Kei and his younger brother Tomo. For proof, Suzu has to get rid of her avatar and sing as Suzu in “U”. If she did that, she might lose all her fame and popularity that she currently has and may lose self-confidence. After thinking for a long time, she decides to reveal her true identity in “U”. While singing as Suzu, she finally understands the reason of her mother’s action. That day, her mother went to help the child because “it only can be accomplished by her”, as she is currently trying to help the Dragon=Kei. People often face “the unclear righteousness” in reality. In the situation, people cannot do anything but question themselves, “Could I help someone even with the wrong decision”. Therefore, I want fictional stories to depict “making mistake in a correct way”. Because “the unclear righteousness” is always the absolute reality, actions ignoring the reality and taking wrong justice on purpose will become the salvation. What is on the basis of “unclear feeling” of failing to help someone with the correct action is the regret that “If that could be only accomplished by me, I should have done it”. This regret will be salvaged by “wrong justice” in fictional stories. Because “unclear justice” is reality, it can easily change into “giving clear decision”. However when everything becomes “clear”, “benefit of others” and “kindness”, which are the motivation of all actions, will lose value. That is why “wrong justice” in fiction is wanted. Because fiction depicts “wrong correctness”, we can believe that suffering from questions without answer is a proof of the existence of “justice” such as others’ benefit and kindness. Although “unclear correctness” in reality and fiction exist on opposite extremes, they are strongly connected in the deep spot. On the final scene of the movie, Suzu goes to Tokyo from Kouchi to rescue Kei and others. From this point, to emphasize Suzu conducting “what only she can do at the moment of life”, it is unrealistic and reckless plan from the realistic view. This event is not questionable for many people because “this is not correct from the realistic point of view”. However this movie has been depicting “making a mistake correctly” throughout the story since the mother’s event at the beginning. Therefore Suzu’s action at the end is reasonable if you think it as the same as her mother’s action (but I also agree that the movie should have been more careful when depicting about child care center. However, I won't "keep accounts" to value the movie by adding up or subtracting such good and bad points either). With Suzu’s “incorrect action with justice”, the important point of the movie appears. It is “body” that connects people. The setting of As of “U” reflecting the senses of humans also follows the point. Suzu meets Kei and Tomo in Tokyo in rain. All 3 hug right after the encounter. The importance is the fact that Belle with living body comes to Tokyo and hugs the two. Kei reconfirms that Suzu is Belle with the hug. Meanwhile, the father appears to retrieve Kei and Tomo and injures Suzu. While Suzu’s face is hurt and blood leaking, she faces their father without wiping off her blood. Their father cannot punch Suzu to see her such attitude. Their father is overwhelmed by Suzu because she stands in front of him as a stranger with body. Their father controls his children with force because he does not recognize ownership of his children’s body and believes that they are his belongings. Home for him is the environment filled with his ego, not the space to coexist with others. In other words, he does not live in real world. Therefore Suzu as “a stranger with living body” makes him unreachable and being overwhelmed by with “stranger’s body”. Abused children should be rescued with law. However, that does not prove that body will salvage humans. Description of crushing the father’s world is unrealistic if you consider the legal system. What only Suzu “could do at the moment” is to hug the brothers in real world, as she did in “U”. The two worlds are connected through “physical experience” and provided as the world of equal value. The audience finally learns why the virtual reality is called “U” and links the physical sensitivity. There may be various complex reasoning in terms of the story setting,, but “U” means “YOU”. This “YOU” does not mean plural “you” but singular “you”. “YOU” as “the person who you want to rescue regardless of making a mistake”. Also “physical body” simultaneously distinguishes and connects “me” and “you”. If this movie positively describes the internet world, then this place is the place of meeting new person “whom your existence will be the life saver for”. Not many people can be helped by other people in the reality. The social system is more likely to help the people. However, as the method of directing “others benefit” and “kindness”, fictional stories to “make a wrong correctness” to “do what only you can do” are needed. Therefore, Suzu carried out such a “wrong but correct decision” with such reason.

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How the “Honkatori” was performed in “NOMAD Megalobox 2” [Fujitsu Ryota’s Gateway to Anime V Vol. 72]

“The pure white ashes are indeed beautiful. But I also feel that it is too beautiful, at the age of thirty-eight. I also feel that a life with embers and a smoldering life of incomplete combustion is not all that bad" (Shigematsu Kiyoshi, The Second Line) “Megalobox" and its sequel "NOMAD Megalobox 2" are based on the manga "Ashita no Joe". The word "original" is used here in the sense of the original song in "Honkatori" (an adaption or excerpt from an old poem). It is true that there are characters reminiscent of Yabuki Joe, Tange Danpei, Rikiishi Toru, and Shiraki Yoko from Ashita no Joe. But the setting is a futuristic city. The sport is also not boxing, but "Megalobox," which is boxing with gears. In fact, there are even bigger differences than the setting. First of all, the volume of the story is different. The original story is 20 volumes in the size. If it were to be made into a TV anime, it would be about six cours long (one and a half years). On the other hand, "Megalobox" has only 26 episodes in the two series. The historical background of the story is also very different. (To begin with, "Megalobox" was broadcasted in 2018 as part of the 50th anniversary of "Ashita no Joe"). How was "Honkatori" performed in such a different environment? When "Megalobox" started, the first thing that struck me as interesting was the introduction of the worldview of a future world with disparity. The world is divided into "authorized areas" where ultra-modern buildings stand in a forest, and "unauthorized areas" where poor people without citizen IDs live in the wilderness, and there are many immigrants from across the sea. By preparing such a worldview, the existence of the protagonist with a hungry spirit, who does not know where he is from (the real name of the protagonist, called Joe, is not depicted in this film), was made more convincing. In the original story, Yabuki Joe is a character with the feel of a myth about him in that his background is not clearly described, but it is difficult to replace it with the present. By using a fictional world in the future as the subject, the film has been able to do this In addition, the visuals that show the setting are a kind of retro-futurism, with period customs and props that look like American movies from around 1970. By doing so, the film creates a sense of continuity with the atmosphere of the original work (and the era in which it was depicted). While the world view and characters were created with such a perfect distance from the original idea, it was difficult to decide how to settle the story. “Ashita no Joe" ends with the panel where Joe fights the world champion Jose Mendoza and "blazes white" after a fight to the death. This final scene gave the reader the impression that the previous episodes had been arranged for this point. It can be said that it was this legendary last scene that turned the manga from "a very interesting manga" to "a work that will remain in history”. In other words, when later generations think about "Ashita no Joe," the big question is how to handle this last scene. But that's the thing. What makes "Ashita no Joe" difficult is that there are several necessary elements that lead up to this last scene. The biggest of these is the episode in which Joe has a fight with his lifelong rival, Rikiishi Toru, which results in Rikiishi's death. After Joe loses Rikishi, the one person he can completely devote himself to, he goes through a period of mental and physical wandering that leads him to that last scene. In other words, the "battle with his lifelong rival" is not directly connected to the final scene. However, there is too much volume to show this as a single episode. Therefore, the movie "Ashita no Joe," a re-edited version of the TV series, ended with Rikishi's death. The 2011 live-action movie also had the Rikishi battle as its climax. The anime then focused on the story "after the battle against Rikishi", and the TV series and movie "Ashita no Joe 2" were produced, completing the story to match the ending of the original, but it would not have been possible to reach the "blazing white" end otherwise. “Megalobox" also climaxed with a fight between Yuri, the strongest megalo boxer equivalent to Rikishi, and Joe, in which both fight for their pride. The story ends with a final scene where Yuri doesn't die, which was in a sense the way it was supposed to be, probably in order to wrap up the story as a single work. It's not the goal of the film to make Joe burn up completely, so that was very satisfying, but at the same time, I personally thought that it would be hard to draw that ending in this day and age. I had the same impression as the previous series in 2018, so when "NOMAD Megalobox 2" started this time, my main interest was still "how will they face that last scene?” What made me think "I've been betrayed" was the fact that this film was created with values that were completely opposite to what the last film showed. It was a very clear statement, and it had the impact of turning the meaning of the original upside down while doing "Honkatori". In a nutshell, "NOMAD" is a story about "coming home”. In the opening scene, we see a stone grave with the word "NOMAD" written on it, and this is the story of a wanderer who stops wandering. The first half of “NOMAD” is the story of Joe and an underground megaloboxer named Chief. Chief is a man who lives in a community of immigrants called "Casa" and fights to protect them. After meeting and saying goodbye to him, Joe returns to the city and tries to revive his home, the "Team Outpost," which he destroyed. Joe eventually finds himself in a match with the man who defeated the Megalobox Champion, Mack, who is also someone who fights for his family. The episode where he meets Chief may be a continuation of the episode in "Ashita no Joe" where he goes wandering after the Rikishi match, but it has a completely different meaning. Jose, the last opponent in "Ashita no Joe," is also a man who loves his family, but they are not among his motivations for fighting. Due to this, the story does not naturally go in the direction of "blazing white”. In “Ashita no Joe”, Jose fights Joe and talks about his fears, "Isn't Yabuki Joe afraid of being crippled ...... or dying ......? Doesn't he have a single human being to grieve ......?”. The "blazing white" of the last scene was a result of Joe's way of life, as he pushed himself to the very edge. In a sense, it is natural that there is a debate over the last scene of the manga, "Is Joe dead? In "Ashita no Joe 2", after the blazing white Joe, there is a short insert of him walking through the city at sunset. A man who came to the world as a “NOMAD”, who found fulfillment in boxing, has returned to the world as a “NOMAD”. To reach a certain extreme point, to pass it, and to go on a journey again. That's how Joe is portrayed in the original story and the anime, but that's not how Joe is portrayed in "NOMAD". The ending of his fight with Mack was a shocking one, with Joe having the towel thrown at him. I couldn't help but go back and re-watch the video to see if that was possible. The person who threw the towel was Sachio, an old acquaintance of Joe's who had hated Joe and rebelled against him when he left town. In other words, Sachio is an important person who makes up part of Joe's home. He threw the towel because he didn't want Joe to burn out after he made peace with him. This is how Joe comes back from the ring. It's not cool. When I saw him, I was reminded of the passage in the essay by Shigematsu Kiyoshi, the freelance writer I quoted at the beginning of this article. This essay deals with Mammoth Nishi from “Ashita no Joe”. Once the boss of a juvenile detention center, he gave up his unsuccessful life as a boxer to become the son-in-law of the owner of a downtown dry-goods store, and was quietly forgotten in the story. (Ibid.) However, Shigematsu-san is deeply moved by the way Mammoth Nishi left. "In a corner of my heart, I yearn for the white ashes of Joe, but I also support the lives of Nishi and the bad kids who are covered in cinders. I recognize their daily lives, which are still full of smoldering smoke. In fact, what is depicted in "NOMAD" is the Mammoth Nishi way of life that Shigematsu-san dared to focus on. It could be said that this is the exact opposite of the "blazing white" aesthetic. However, many people living in the world do live that way. At this point, the life of Yuri, who did not die like Rikishi after his fight to the death with Joe at the end of the previous film, is also neatly placed in the theme of the story. Yuri is now in a wheelchair, living as the leader of Megalobox. He lives with regrets, but he lives on. That is the life of an adult. The story ends with a scene where Joe sees Sachio off on his journey. The young man becomes a wanderer and returns home. And at home, there is an adult who is living with a buried fire in his heart. The film thus concludes with the end of Joe's youth.  “Ashita no Joe" is a work of such purity that if you touch it, blood will spurt out. “NOMAD”, on the other hand, is a work that leaves a warmth behind after it has burned. “NOMAD" is a critical reading of "Ashita no Joe".

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“Keep Your Hands Off Eizouken!”, what’s the “Greatest World ”Asakusa is aiming for? [Fujitsu Ryouta’s anime gate V 55th]

The first episode of "Keep Your Hands Off Eizouken!" titled, "The Greatest World!" shows what kind of story will be depicted in the anime “Eizouken” in a totally compressed way. In the spring of her first year in high school, Asakusa Midori gets acquainted with her charismatic reader model classmate, Mizusaki Tsubame, following an incident that occurred at the screening of the Anime Lab. When she was a child, Asakusa dreamed of making an anime after watching the TV anime episode “Nokosareshima no Conan” (as you can see, it’s clearly from “Future Boy Conan”). On the other hand, Mizusaki wants to be an animator. Together with Asakusa's old friend with a producer trait Kanamori Sayaka, the trio launched the “Eizouken”. The story looks like it focused on a "club activity" so far, but it is actually hard to say. "Club activities" are related to the school days, in other words, they are connected to a specific period of time. On the other hand, this work is deeply connected to the kind of philosophy, "what is the attractive aspect of the animation expression?", and also it is focused on "the appeal and strictness of production". This is a very unique work where, instead of a “business world”, the story shows a ridiculous setting of a fictional high school where the core part depicts something severely real (here I want you to interpret it in the sense of "the truth about the world"). The climax of the 1st episode is that Asakusa, who drew only buildings and mecha, and Mizusaki, who drew only characters, got together in order to create the "All-purpose Manned Flying Pod Kairi". While drawing it, the trio enters the depicted world of Kairi, and then they rode on it in order to escape from the enemies. The technique of expressing the reality of the world perceived by the trio in the form of “entering the drawn (anime) depicted world” is a feature that often appears in the original work. In the anime “Eizouken”, this scene is expressed with a pencil-drawn rough background and a mechanism of watercolor touching, while the sound effects are created by humans so that the world inside the image is clearly drawn. After repeating this "immersion in the image" several times, episode 4 titled "Hold That Machete Tight!", is a turning point of the first half of the story. The screening of the first short film produced in the Eizouken was also shown here. To express the impact of the short film, the anime has inserted scenes that show students feeling a shock wave, and then witnessing the ejected cartridge falling directly beside them at the venue. The last panel of the original also depict the students in the setting of the short film but the anime expressed it in a more in-depth manner. The first entrance to draw this vertex is the scene of Kairi in episode 1. There is still something to notice about Kairi’s launch scene. In the anime, there is a scene where, since the catapult does not work, Mizusaki and Kanamori have to push out the Kairi in order to take off. This was screened at the 1st episode of the Anime Lab screening which is a response to the scene of a flying machine appearing in "Conan" ("Future Boy Conan"), which was praised by Asakusa. The flying machine that appeared in Conan is a small-sized pod that floats with an antigravity device. However, in that scene, the flying machine was not able to lift up because of a malfunction. Therefore, when Conan pushes it up from below, the flying machine starts to emerge lightly. This shows the fact that, since the antigravity device is working to a certain extent, the machine gets lighter in weight, and it can be pushed up by hand. In order to aptly express the reality of pushing through the hand’s touching, the presence of an unknown vehicle called flying machine, and the effects of the antigravity device have a sense of a great reality. The same effect occurs in the scene of pushing the Kairi. While being pushed forcefully forward, the Kairi starts to advance slowly. Here too, the act of pushing out by hand and the sense of weight perceived by the slow movement of the machine gives a sense of reality. This means that the ideal expression in the anime that Asakusa has seen, is strongly alive in her imagination. There is also a reference to "Conan" in the original work, and the scene of the flying machine being selected was the plus alpha of the anime. In addition, the scene that shows Kairi being pushed out was also added directly to the anime. In the anime adaptation, new arrangements that enrich the details of the original work, are given everywhere. Furthermore, the number of lines where Mizusaki talks about the charm and difficulties of drawing has increased, and also various kinds of information related to the animation, such as how to use a shooting script, how to insert a rotating windmill, and how an automatic in-betweening in computer-assisted animation works, are shown. These details highlight the appeal of animation production. In the Kairi scene, another connotation can also be seen. Just before entering the Kairi world, Asakusa declared, "This is the greatest world that I thought of. I drew it in order to depict it. Now my creation is real! ". At that time, the world surrounding Asakusa was the retro-futuristic texture features and buildings that she drawn in her sketchbook. After that, the trio who flew off on the Kairi slipped through the gaps between the buildings and jumping into an open world. There, a huge landscape that have never been seen before in the universe and earth, spreads everywhere. At that point, Asakusa mutters, "This is the greatest world...". The "greatest world" that Asakusa mentioned about before taking off on the Kairi, came out of her. On the other hand, the "greatest world" she sees at the end is shown as "an unknown world that was not inside her." Considering the cooperation from Mizusaki and Kanamori was indispensable, during both the Kairi departed and when slipping through the buildings, this "unknown world = the greatest world" could not be reached alone. Asakusa's "The Greatest World", which had been drawn and created by herself, was changed. This series of scenes deeply shows that the animation production is a collective work. The main aspect of a collective work is that things that cannot be done alone, can be done with the help of various people. To reach the "Greatest World", Asakusa must work with "travel companions", "accomplices", and "co-workers". Considering from that viewpoint, the scene where Asakusa meets with the members of the art club in the 6th episode titled "Let's Do Better Than Last Time!", though it is a short one it contains a great meaning. This scene shows also one of the processes where Asakusa, though her lack of communication skills, “creates a cooperation circle". Furthermore, in the 4th episode, when Asakusa is speaking sharply during a heated discussion with the Student Council, she is not outbursting her emotions only. She understands that she’s doing it to get closer to the “Greatest World”, and that intention is clearly shown on her face (she had teary eyes, maybe because she was nervous). In this way, the Kairi’s scene of the 1st episode achieves the three most important elements, that the whole series is trying to draw; "Depicts the reality of animation thought by Asakusa, and the others.", "Introduces the storytelling through the image scenes", and "Let Asakusa understand that the greatest world can not be reached alone". These elements are also depicted in the original, but the anime makes them clearer and sharper. When thinking in this way, it seems that the drama’s destination that the anime is aiming at is a scene contained in the second volume. I am looking forward to seeing the second half of the anime, also to see if my conjectures are right or not.

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