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genkais-arcade · 3 years

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Yu Yu Hakusho: Poltergeist Report released on April 9, 1994.

Studio(s): Studio Pierrot and Movic

Director: Masakatsu Iijima

Producers: Haruo Sai, Ken Hagino, and Naoji Hōnokidani

Score: Yusuke Honma

I'll also list all of the artists involved in making the background art and the key animators! This movie looks incredible and directors tend to get a much bigger cut of the credit than they deserve.

Background Art: Emi Kitahara, Emiko Koizumi, Hideaki Kudo, Hirofumi Shiraishi, Hisae Saito, Hitoshi Nagasaki, Ikuko Ōoka, Kaoru Inoda, Kazuo Ebisawa, Kumiko Nagashima, Masumi Nishikawa, Mio Isshiki, Ryō Kōno, Sadayuki Arai, Sawako Takagi, Shigenori Takada, Shinichi Uehara, Shinobu Takahashi, Shuichi Hirose, Toshiharu Mizutani, Toshiyuki Yoshimura, Yasunari Usuda, Youngil Park, Yuka Kawashima, Yuka Okamoto, Yūko Kobayashi

Key Animation: Akihide Saitō, Chihiro Hayashi, Fuminori Kizaki, Hajime Kamegaki, Hideyuki Motohashi, Hikaru Takanashi, Hiroharu Nishida, Hiromi Niioka, Hirotaka Kinoshita, Hiroyuki Kanbe, Hiroyuki Okuno, Hisahito Natsume, Isao Sugimoto, Junichi Kigawa, Junko Abe, Kari Higuchi , Katsuichi Nakayama, Kazumi Minahiro, Kazuya Kuroda, Kazuyuki Ikai, Kazuyuki Kobayashi, Keiko Shimizu, Kenji Yamazaki, Kunihiko Ito, Mamoru Hosoda, Mamoru Kurosawa, Masahito Yamashita, Masaki Hosoyama, Masayuki Fujita, Mayumi Hirota, Munenori Nawa, Naoyuki Owada, Osamu Nabeshima, Satoru Iriyoshi, Satoshi Fukushima, Shinji Seya, Shinsaku Kōzuma, Shuji Kawakami, Shunji Suzuki, Susumu Yamaguchi, Tadakatsu Yoshida, Tadashi Abiru, Takashi Yamazaki, Takayuki Gorai, Takenori Mihara, Takuya Satō, Toyoaki Shiomi, Yasunari Nitta, Yoshiaki Tsubata, Yoshinori Kanada, Yoshiyuki Kishi, Yuichi Endo, Yuko Kusumoto

#yyh #yusuke urameshi #hiei #kurama #kazuma kuwabara #poltergeist report #yyh 💾☆archive.

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another-dr-another · 4 years

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Speak with a student, Tomori maybe?

Maeda, narrating - Oh yeah, that reminds me...

~*~

Maeda - Hey, Tomori!

Tomori - Oh hello Maeda, is everything alright?

Maeda - Yeah, I just have a question and I figured I might as well ask you.

Tomori - Whatever it is, I'll do my best to answer.

Maeda - Thank you...

Maeda - There's two international students in this class, right? Do you know who they are?

Tomori - I don't...

Tomori - I'm sorry, but all I know is that there's two and that it was unusual.

Maeda - Oh really? Well, thank you anyways.

Tomori - Of course... if I had my phone on me, I'd text my sister for you.

Tomori - She's really into the politics surrounding Hopes Peak, even more now that I go here, so she was really interested in the new internationals.

Maeda - You have a sister?

Tomori - Yeah! Her name is Kumiko, she's really smart, and I love her a lot...

Tomori - I'm... kinda starting to miss her already, now that we're stuck here.

Maeda - I'm sorry... is there anything I can do to make you feel better?

Tomori - Ah, it's alright, I appreciate it though...

Tomori - Hey Maeda?

Maeda - Yeah?

Tomori - Do you have any siblings?

Maeda - ...

Maeda - ..........

Tomori - I apologize, you don't need to respond to that.

Maeda - No, no, it's... it's alright.

Hatano - ...

Tomori - Oh! Hello there Hatano, do you need something?

Hatano - I... think I just need someone to talk to, I wasn't gonna bother Tsurugi since he seems to be talking with Uehara

Hatano - But if you both are busy with something personal, I can go now.

Maeda - Nah, if it's alright with Tomori, I don't mind going so you both can talk.

Hatano - R-really?

Tomori - Of course, if you're upset, it's okay to ask others to talk with you.

Hatano - Thank you...

Maeda - I'll leave you both to it then.

Tomori - Alright... feel free to come to me if you ever wanna talk, Maeda!

Maeda - Of course, and uh- same to you.

~*~

Maeda, narrating - Well, wasn't very helpful with my quest for international students, but still

Maeda - It's nice to talk with Tomori.

[Speak with a student]

{Advance}

#dra #au #yuki maeda #kizuna tomori #ayame hatano #chapter 1 #daily life #daily life 1 #august 23

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johnnymundano · 5 years

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Imprint (2006)

Directed by Takashi Miike

Screenplay by Daisuke Tengan

Based on the novel Bokkee Kyotee by Shimako Iwai

Music by Kōji Endō

Country: United States, Japan(?)

Running Time: 53 minutes

CAST

Billy Drago as Christopher

Yûki Kudô as Woman

Michié as Komomo

Toshie Negishi as Madam of the House

Mame Yamada as Tout

Kumiko Imai as Mother

Hôka Kinoshita as Father

Shimako Iwai as Torturer Woman

Shihô Harumi as Labourer #1

Magy as Labourer #2

Shin'ichi Tokuhara as Labourer #3

Takao Handa as Yoshi, Labourer #4

Hiroshi Kuze as Boatman

Miyuki Konno as Dead Woman

Yutaka Matsuzaki as Gate Keeper #1

Hiroshi Fujita as Gate Keeper #2

Sachiko Matsuura as Shamisen Player

Noriko Eguchi as Whore #1

Megumu Takada as Whore #2

Yuno as Whore #3

Miho Harita as Whore #4

Tokitoshi Shiota as Elderly Woman

Risa Uehara as Girl with Blue Eyes

Miho Ninagawa as Pregnant Woman

Suzuno Nomura as Girl in Woman's Flashback

Seriyu Ichino as Buddhist Priest

Shinichi Tanaka as Pimp

Yasushi Tomobe as Woman's Customer

Katsuyuki Shimosugi as Boy #1

Haruo Fukuhara as Boy #2

Keita Murase as Boy #3

Dong Wook Min as Prison Guard #1

Takumi Matsumoto as Prison Guard #2

Takashi Miike’s bracingly unpleasant Imprint originally aired as the 13th episode of the 2006 TV series Masters of Horror. Or it did if you were in the UK, catching it on the Bravo Channel. If you were in America then Showtime shelved it because America is the Land of the Free, but only in certain circumstances. Concerns were raised, apparently, regarding the level of unpleasantness within it, but Imprint was later released on DVD; because making money means qualms get crushed. Which is apt since some of what Imprint is about (and Imprint is about a lot of things) is commodification, particularly the commodification of the human body. Which is why there are more whores in the cast list than in the last six Frank Miller comics. Imprint is also about insanity, and if you want to make connections between commodification, money as power, and the inevitable usurping of humanity by appetite climaxing in insanity, well, I won’t stand in your way. Heavy themes. Heavy stuff. It’s also entertainingly batshit in that magical and uniquely Takashi Miike fashion.

Imprint is set in 19th Century Japan, when gaijin knocking about the place were still a novelty. (Japan’s 200 year isolation had ended in 1853, when the namesake of Friends star Matthew Perry sailed 4 ships into Tokyo Bay.) Maybe we still are a novelty; we are quite funny looking. Anyway, fresh from the wild west and its enthusiastic ethnic cleansing of the native Americans, Christopher (Billy Drago), an American journalist with a penchant for histrionics, is searching for Komomo (Michié), a whore he promised to return and free. Which is mighty big of him. Along with a bunch of filthy labourers Christopher alights on an island populated by whores and whoremasters; you don’t go looking for a lovelorn Japanese whore in a Swedish furniture warehouse after all. A tiny tout with a delightfully syphilitic nostril claims Komomo never came this way, and convinces Christopher to pick a whore and stay the night. Christopher does so, selecting a distinctively faced lady of the night, The Woman(Yûki Kudô), to ply him with saki. The Woman turns out to know all about Komomo (apparently you can’t trust touts with syphilitic nostrils on an island of whores; who knew?) Through a long dark night of saki and stories, Christopher learns the fate of his procured paramour. Stories within stories, lies within lies; unfolding like the dark petals of that most poisonous flower – truth. Like life, Imprint ends badly for everyone involved.

Apparently unforgivably for a horror movie (since it was pulled from broadcast) Imprint is, really, really horrible. Horrific in fact. There’s really no ifs or buts about that. Imprint is definitely Ugh City. Mind you, I’m not sure what Masters of Horror were expecting when they let Takashi Miike sink his teeth into the horror genre. They were expecting horror, but not too much horror, I guess. Masters of a Certain Amount of Horror But Nothing Too Horrible doesn’t really have the same ring though. Also, Imprint is really, really horrible. Did I mention that? There is a danger of overselling it, resulting in the defensively adolescent approach of “Huh! It wasn’t that bad. Pfft!”, like actually being affected by the horror in a horror movie is some kind of failing or weakness, instead of being the whole point. Personally I enjoyed the implacable ratcheting up of the horror, my reactions were kind of along the lines of - “Oh, that’s okay.”, “This isn’t too bad.” , “Whoa, that’s harsh.” , “Hey now, hang on.”, “No. Don’t.” and ending with everyone’s favourite - “STOP IT! I WANT TO GET OFF! MAKE IT GO AWAY!” As horror goes, Imprint is the hard stuff. If Imprint doesn’t make you squirm it’s because a) you’re lying or b) you’re dead. ��

Imprint is an ugly watch but it isn’t just ugliness for ugliness’s sake. Imprint has more about it than that; it’s ugly because it’s about ugliness, it’s just not shy about it. There’s a lot of physical ugliness on show from the initial syphilitic nostril to the scrunched up face of Christopher’s spooky Scheherazade; from the plethora of aborted foetuses to the extended torture of a woman more sinned against than sinning. But that’s the surface stuff, in Imprint the ugliness runs deep. The ugliness in Imprint isn’t just skin deep; the physical ugliness is merely a symptom of the psychological ugliness. Cages of women imploring filthy labourers to rut them up for money, the sadism of the brothel madame’s regime, the victimisation of the weakest among the whores, the nonchalant abortions, brother-sister incest, father-daughter incest, patricide, infanticide and…whatever you call palming your kid off on a pimp dressed like Willy Wonka; it’s all here and more besides! Ugly stuff because it’s an ugly world. Sure the ugliness is somewhat souped-up (it’s a horror movie!) but Imprint gets closer to representing the truth of the brutal world of our ancestors than most straight entertainment. Life was cheap as chips and kids were a burden, and not too long ago at that.

The most bizarre thing about Imprint (and that’s saying something; I’ve not even hinted at the pinnacle of the freakery within (hoo boy!)) is how visually gorgeous it is. Takashi Miike churns movies out, and sometimes, well, a bit more finish might have been desirable. But with Imprint there are no such reservations; it’s fantastic stuff. Rich with cultural signifiers I am too bovine to plumb, no doubt; but even I can bask in the visual sumptuousness on display. And for all its knowing excess Imprint is subtler stuff than you might think; the chill when the meaning of the toy windmills strikes home is a showstopper. Basically, Imprint is the real deal horror wise and well worth seeking out.

#Imprint #Takashi Miike #Movies #Horror #Masters of Horror #TV #The 2000s #2006 #United States #Japan #Billy Drago #Yûki Kudô #Michié

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