My Love Mine All Mine by Mitski from the album The Land Is Inhospitable and So Are We - Writer Director Editor: A.G. Rojas

Tags Part 2

For more tags please see here and here

By Seiyuu: Hiroaki Hirata Masakazu Morita Yuichi Nakamura Minako Kotobuki Kenjiro Tsuda Go Inoue Mariya Ise Nobuhiko Okamoto Taiten Kusunoki Koji Yusa Tomori Kusunoki Nobunaga Shimazaki Shoya Chiba Rina Hidaka Katsuhisa Houki Hiroshi Iwasaki Yuuko Kaida Shinichiro Oota

By Staff: Yoshihiro Ike Tokio Inoue Osamu Kaneda Atsuko Kase Masakazu Katsura Ruriko Kojima Chinatsu Matsui Taisuke Morisaki Masafumi Nishida Masayuki Ozaki Mizuki Sakakibara Keiichi Sato Tomohiro Suzuki Yuuya Takahashi Kazuhiko Tamura Hiroshi Ueda Yoshitomo Yonetani

By Singer/Band: Novels Aoubozu Rihwa Tamaki Unison Square Garden

By Year: 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 2024 Unknown Year

By Event: Characro Hero Awards Hero TV Jack MBS Anime Fes Namjatown Precious Eve Radio Show Sunrise Fesitval The Rising Super Prelude The Sound of Tiger & Bunny The Sound of Tiger & Bunny 2016 The World of Tiger & Bunny Tiger & Bunny The Live

By Game: Mobage Hero's Day My Private Hero On-Air Jack Pachislot PSP Road of Hero V Residence Video Game

Signal: The Movie (JM, 2021) (Sub. Esp)

DESCARGAR O VER ONLINE AQUÍ

Título: Signal: The Movie País: Japón Género: Thriller, misterio, drama Duración: 122 min. Fecha de estreno: 2 de abril, 2021 Dirección: Hashimoto Hajime SINOPSIS La historia continúa desde el drama y SP de "Signal". Saegusa Kento y Sakurai Misaki siguen averiguando cuál es el paradero actual de Ooyama Takeshi. CAST Sakagushi Kentaro como Saegusa Kento Kichise Michiko como Sakurai Misaki Kitamura Kazuki como Ooyama Takeshi Kimura Yuichi como Yamada Tsutomu Ikeda Tetsuhiro como Kojima Shinya Ihara Tsuyoshi como Aoki Junki Tanaka Tetsushi como Yamazaki Satoshi Sugimoto Tetta como Mitani Munehisa Kaga Takeshi como Itagaki Shinjiro Nao como Koizumi Michiru Aono Kaede como Anzai Rika

TRÁILER: https://www.youtube.com/watch?v=6S0ecHKqkZI

LYRICS It's been such a long time So much crying Bad dreams in the night I'm getting lonely I can't stand this pain no more I still recall Hear the echo of our last good-bye Would you still have a place in your heart for me to stay Let me forget sad memories Let me believe that we'll never be apart Let me forget bad memories Let me believe that we'll never be apart I know we'll be the way that we were From what to where All I've been doing is running away But now is the time to change That my life would never be the same It's been so lonely without you My heart will be broken Would you still have a place in your heart for me to stay Let me believe your love is true Let me believe that we'll never be apart Let me believe our love is true Let me believe that we'll never be apart I know we'll be the way that we were Now I know just how much I have lost Yes, I lost my true love You're the love I can't forget You're everything I need Let me believe your love is true Let me believe that we'll never be apart Let me believe our love is true Let me believe that we'll never be apart I know we'll be the way that we were All Composed by Mutsuhiko Izumi, All Lyrics by HEAVEN, Except "USED TO ROCK'N'ROLL" Lyrics by Brad Holmes Produced by Mutsuhiko Izumi Directed by Miho Toyoda Mastered by Kotaro Kojima (FLAIR MASTERING WORKS) Recording Engineer: Yoshifumi Kureishi, Yasufumi Sugahara Assistant Engineer: Yoshiyuki Hayashi Mixing Engineers: Yoshifumi Kureishi (M1,2,4~7,10,11,13,14) Tomoko Sugiyama (M3) Kazuyo Sakaguchi (M8,9) Jun Miura (M12) Recorded & Mixed at AOI STUDIO, Boomerang, Studio A-tone Drum Technician: Atsuhiro Murakami Guitar Technician: Takuya Kumagai Supervisor: Yumi Izumi Art Direction & Design: Hiroshi Banno Photograph: Masashi Miyazato Styling: Masahiro Hiramatsu Hair & Make-up: Shohei Inoue Label Management: Yuichi Hashimoto A&R Direction: Hiroshi Takeyasu Licensing Management: Kazunari Okido Sales Promotion: Hideki Chosokabe, Eiichi Tsukagoshi Executive Producer: Kuniaki Kinoshita Special Thanks to: Seiichi Sugiura (Art Tech) Koichi Kanei (Deviser) Hideyuki Matsukawa (Hyaku Percent) Nobuya Okuno (Hyaku Percent) Kinya Takano (HOWMIC) Kojiro Sato (Boomerang) Toshimasa Mori (AOI STUDIO) Michiyo Hara (Studio A-tone) Ryosuke Maekawa TAMA Drums Zildjian Cymbals NAOKI MAEDA Yuei Hideaki Shikama Daisuke Kurosawa by DancerZone

Bleach, S1:Ep4

It’s Chad Time!

I cannot lie, part of my love for Chad is that I never screw his name up.

Boss Hollow is waxing poetic about how once you taste a Soul Reaper, you always crave it, and honestly, I’ve read serial killer books less creepy than this.

Chad has saved his tiny friends and the cursed bird from Certain Death by catching a piece of I-beam on his shoulders.  He says, “Yeah, I’m fine,” as blood cascades down his face.  Damn my love for taciturn men.

Okay, bird’s name is Yuichi Shibata.  Someone tell me if I’m using up valuable gray cells remembering this name if this is the only time it appears.  (Although there was a little boy when they finally made it to Soul Society and Chad carried him around on his shoulders for a whole episode and it was adorable? Is this that kid?)

Okay, Chad has just announced that his name is Yasutora Sado, (that’s how the subtitles spelled it) and that conversation with polynya from last weekend suddenly seems a lot less shocking.  (This kind of thing is why I’m watching from the beginning.  And keeping notes.)  He also announces that he’s still 15 and I want to hate him on principle but I cannot.  His big watery eye is killing me.

Ichigo is impressed (or disappointed?hard to tell) that he’s fixed already and Rukia brags about being the best in her Kido class. In return for saving his life (or whatever) he teaches her to drink a juice box.  Which I knew about, so it’s kind of adorable to see now.  :D  Meanwhile a classmate (Mizuiro Kojima) basically tells them they’re the new high school power couple and when Ichigo tells him he’s wrong, he hits on Rukia (or Ichigo assumes he’s going to hit on Rukia before he actually does it) because she is SO MUCH OLDER.  (I am dying at the effect of the blinking SO MUCH OLDER while she stabs futilely at a juice box.)  Some other insane guy shows up and welcomes Rukia to the “garden of masculinity” which I assume is what they call the school rooftop, and finally Chad shows up.  With some band-aids.  And the bird.

Did I miss Chad running into a motorcycle and taking the rider to the hospital? Or is this just a character-building moment?  

Rukia goes blue-soul when the bird introduces himself and the insane “garden of masculinity” dude introduces himself as Keigo Asano.  He introduces himself to the bird, but not to Rukia.  Okay.

Rukia tells Ichigo that the bird is probably a lost spirit and they should perform a Konso that night.  I hope Ichigo asks what Konso is, so I can find out too.  He did not.  But he did jam a straw in Rukia’s juice box, so at least someone’s wish was fulfilled!  (Is Konso the crossing over a spirit?  Should I have picked up that word earlier?)

Chad Origin Story Flashback!  PEOPLE ARE BEATING UP ICHIGO. Didn’t I say in the first episode that this seemed to happen a lot?  For 8th grade, this is an extremely advanced beatdown with brass knuckles and a concrete block.  Then Chad (who is 12? 13?) shows up and lets a half dozen guys beat on him, one with the brass knuckles.  He doesn’t seem to fight back so maybe he just waited for them to get tired?

And Ichigo says that Chad never fights back. I considered deleting that line and then decided to save it for posterity.

I am waiting for Ichigo’s father to not be a douche.

No! Chad is hurt! And he has a big...bird footprint injury to his back.  It appears to be a burn, but Chad walks it off.  Wait, no he doesn’t.  He stands up and immediately passes out.  Rukia can tell that his injury “smells of Hollow.”  The bird looks sad.

The next morning, Karin has had bird-related nightmares and Chad is missing.  Ichigo and Rukia are in pursuit.  Rukia explains that Hollows hang out between Soul Society and "this world”, except when they become visible to “commit foul deeds.”  It took me a while to figure out the accompanying illustrations so I’m not even going to give Ichigo a hard time for being rude about them.  

Ichigo decides he’s going to follow the parakeet soul, which Rukia claims is impossible but is clearly not for Ichigo.  

Meanwhile, the bird is apologizing to Chad because everyone who owns it has bad luck.  Chad’s okay with it.  

Karin is legit sick with a cough and a sweat drop that I think it meant to indicate a fever.  

Ichigo uses Soul Cerebro to find the right soul and goes running after it.  Rukia exposits that he saw “Soul Ribbons” which only high-level Soul Reapers should be able to see.  

Chad tells the bird that being tough is his one good trait.  Aw, Chad. That’s not true. You also have an awesome tattoo.

Rukia tells Ichigo to take Karin home while she goes after Chad.  And the Hollow.  With all zero of her powers.  Okay, actually Ichigo says she hasn’t gotten enough of her powers back to fight the Hollow so maybe they’re regenerating?  Ichigo certainly doesn’t seem to be giving any back.  He tells Rukia not to take chances, which is RICH coming from him.

Karin explains that she absorbed the bird’s (well, Keigo Asana’s) strongest memory, which was seeing his mother killed before his eyes.  Poor baby bird Bruce Wayne.  

Rukia is grumbling that the physical powers of the gigai are the same as an average human being.  I am coming to the conclusion that I should stop asking questions and just WATCH THE NEXT EPISODE except that getting answers is so much fun.

Boss Hollow shows up to tell her she smells delicious.  Creeper.

Even at depleted power, Rukia decimates the guy with a knee to the teeth and then comes down with Pale Destrcution Spell 33.  It only kinda works.

Chad and his bird are on the lam until Chad doubles back to “save Rukia”.  That’s adorable.

Apparently Boss Hollow (who maybe not the boss, but the Hollow of the Week?) has killed two Soul Reapers who tried to help Keigo cross over before.  And they were delicious.  Blech.  Rukia figures he’s attached to the boy’s soul so...it’s probably a relative?

WHAT.  It’s To Be Continued?  UGH.  Guess there will be two reviews in one weekend.

Fire Emblem Three Houses (ENG vs JPN) - Opinion

This is just an opinion post for which I prefer. I have 650 hours and counting on the game, so I’ve had time to listen to a bit of both. These are the voices I prefer. I can’t say for sure which voice or dub is better. Overall, they’re both pretty solid. 

Byleth (Male): Yūsuke Kobayashi | Zach Aguilar I feel like Kobayashi’s voice fits better. I just didn’t like Zach’s interpretation for Byleth or Tanjiro. 

Byleth (Female) Shizuka Ito | Jeannie Tirado This one is more of a preference. 

Edelgard: Ai Kakuma | Tara Platt Again, I feel like this is more of a preference. I just feel like Tara Platt doesn’t sound like a teenager either. Ai Kakuma gives her more of a softer and more “girly” vibe if that makes sense?

Dimitri Kaito Ishikawa | Chris Hackney Chris is funny with Dimitri’s character. He goes from the whole “don’t eat the weeds” to the emotional scenes that are great, and as much as I really, really, really like Ishikawa’s dialogue as well, I didn’t get the nuance from the script of the Japanese version. 

Claude Toshiyuki Toyonaga | Joe Zieja This one is a tie. I couldn’t choose. I know everyone prefers Joe because he’s very involved with the fandom, but Toshi is really good too. If it makes sense, he gives Claude more of a romantic vibe? He seems a lot more flirtatious and suave in Japanese, but I will admit that there’s more nuance in the English script. Regardless, the confession scene feels way better in Japanese (Toshi does a lot of otome games so maybe it’s from that)

Hubert Katsuyuki Konishi | Robbie Daymond I don’t really like Hubert all that much, to begin with. Katsuyuki makes him sound less like a cartoon villain and more like an actual potential good guy to S-Support.

Dorothea Juri Nagatsuma | Allegra Clark When you have Dorothea and Mercedes on your team, you can only take so much “ara ara”. Allegra (not the allergy medication) also makes her sound a lot more natural. I personally didn’t notice the first time I played through that she was double-casted, but after a couple of times, I got tired of the whole “let’s hire one actor/actress to play more than one character!” 

Ferdinand Taito Ban | Billy Kametz Billy Kametz just won a Crunchyroll Award for his dubbing of Shield Hero, and I can definitely see that he’s really talented. He’s pretty prolific with his roles in other anime too like Cells at Work and Demon Slayer. Both of Ferdinand's voices are a good fit, but nothing beats the FE meme of “I am Ferdinand Von Aegir” 

Bernadetta Ayumi Tsuji | Erica Mendez I don’t really like either. You can open any dub out of a can, and Erica Mendez has a 50/50 shot of being there. Bernie’s JP voice is like a broken squeaky toy though, so Mendez just automatically wins. 

Caspar Satoru Murakami | Ben Diskin Besides double-casting (which I’m not a fan of), Ben just made Caspar sound like too much of a child even with the time skip. 

Petra Shizuka Ishigami | Faye Mata Petra’s English is probably a contributing factor. Localization does wonders.

Linhardt Shun Horie | Chris Patton You can also find Patton in a lot of other dubs. However, I just preferred Patton’s a bit more because it made him sound a bit more grown-up. Not to mention, some of his lines just fair better in English.

Dedue Hidenori Takahashi | Ben Lepley There’s such thing as making a voice a little too low, and after playing Crimson Flower, hearing the pain in Dedue’s voice after he loses his best friend is quite something.

Felix Yuichi Jose | Lucien Dodge Felix is a whiny brat, but I feel like Yuichi makes him feel like less of a whiny brat. 

Mercedes Yumiri Hanamori | Dorothy Elias-Fahn There was no competition. Yumiri’s voice is the absolute perfect fit for Mercedes. Elias-Fahn’s voice made her sound like a cartoon dinosaur.

Ashe Yūki Inoue | Shannon Mckain There’s a lot more character in Mckain’s voice. 

Annette Takako Tanaka | Abby Trott This is purely personal preference.

Sylvain Makoto Furukawa | Joe Brogie This one is a tie. I couldn’t choose. Joe Brogie does bring that “f-boi” vibe, but Sylvain’s confession scene in Japanese was really sweet while his English version was... passable. Furukawa’s got too much experience with those kinds of things. 

Ingrid Manaka Iwami | Brittany Cox She makes Ingrid sound so sweet, and her voice has so much more emotion and character compared to Cox’s version which sounds so flat at times. Also, her death line is infinitely better post-time skip in Japanese. 

Lorenz Hiroshi Watanabe | Ben Diskin Nobody likes Lorenz. 

Hilda Yūki Kuwahara | Salli Saffioti Again, there’s more nuance in the localized version. 

Raphael Takaki Otomari | Zachary Rice The amount of “himbo” energy stuffed into that dub is legendary. 

Lysithea Aoi Yūki | Janice Roman Roku Aoi Yuuki is a symbol in the seiyuu fandom because she does a lot of voices for little girls. 

Ignatz Shougo Yano | Christian La Monte They tried to do something with the JPN dub that didn’t quite work. They tried to make him sound much higher pre-time skip then made his voice hit puberty, and while I appreciate the authenticity and efforts put in, they couldn’t make it consistent so his voice was constantly going from high to low when exploring the monastery post-time skip. 

Marianne Sawako Hata | Xanthe Huynh I just prefer her more soft-toned voice. 

Leonie Sakura Nogawa | Ratana I don’t like Leonie that much really. 

Jeralt Akio Ōtsuka | David Lodge I like both, but Lodge is a better fit for the narrator too. 

Rhea Kikuko Inoue | Cherami Leigh I really like Cherami as a voice actress, but this feels like a great miscast. Her singing voice for Rhea isn’t great either, and her screams felt subpar at best. Kikuko Inoue really gave her that “wise old lady” vibe. 

Sothis Tomoyo Kurosawa | Cassandra Lee Morris I don’t really like Sothis. I still say that they could’ve made a better character than that. Her child voice is offputting too. 

Manuela Sachiko Kojima | Veronica Taylor No preference here because I never cared for her or ever really put her in combat. 

Hanneman Kenji Hamada | W. T. Falke Hamada’s voice was a bit too deep. Besides that, the same as Manuela. 

Catherine Chie Matsuura | Laura Post No preference here. 

Alois Manabu Sakamaki | Dave B. Mitchell His character is based on puns, so of course, English dubbing will prevail here. 

Seteth Takehito Koyasu | Mark P. Whitten Mark dubbed some fan lines, and his voice is much more distinctive and isn’t associated with any big-time characters yet (cough Dio). 

Flayn Yuko Ono | Deva Marie Gregory Yuko Ono’s voice is way too high. It rivals Bernadetta.

Jeritza Atsushi Imaruoka | Patrick Seitz Patrick did a great job directing this dub, but Jeritza sounds like he’s constantly about to yawn in the English version. 

Shamir Yurina Watanabe | Allegra Clark Their voices are extremely similar in quality. I just have a bit of bias, and I don’t like double-casting. 

Cyril Kengo Kawanishi | Griffin Burns I don’t like Cyril. Yuri Junya Enoki | Alejandro Saab Junya provides a really good voice for Yuri. It makes him sound even more like his character if that’s even possible. Junya gave much more of that trickster “Claude” kind of vibe. It’s hard to decipher, but despite being kind of similar, Junya wins by a landslide despite Saab providing a stellar dub. 

Balthus Subaru Kimura | Aaron Hedrick I think it’s because of the localized script. His voice is also a perfect fit for the character. 

Constance Sarah Emi Bridcutt | Kirsten Day I can’t take all the “OHOHOHOHO” laughing all the time. 

Hapi Sachika Misawa | Christine Marie Cabanos Hapi’s localized script is really down-to-earth and adds to her character more. 

Hal yang Saya Pelajari dari Film Shinzanmono (2010)

Halo temen-temen, mungkin ini tulisan pertama saya yang agak lumayan panjang dari sekian lama saya gak pernah nulis lagi di platform ini. Dari tulisan ini saya berharap bisa berbagi tentang hikmah yang saya dapat dari film yang saya tonton. Berhubung kita semua masih harus diam di rumah, semoga diamnya kita, membuat kita tetap bergerak menjadi pribadi yang lebih baik hari demi hari yaa. Ya minimal dari hikmah yang kita dapat, bisa menggerakan hati kita untuk terus cenderung pada kebaikan.

Sekilas tentang film Shinzanmono

Jadi, film ini berupa drama series yang sebenernya diangkat dari Novel dengan judul yang sama karya Keigo Higashino. Shinzanmono bercerita tentang beberapa detektif Polisi yang sedang menyelidiki kasus pembunuhan seorang perempuan paruh baya di Nihonbasi, Tokyo, Jepang. Sebagaimana kasus-kasus kriminal pada umumnya, para detektif harus mencari tahu siapa pelaku pembunuhan dan atas dasar apa (motif) pelaku melakukan perbuatannya.

Film ini diperankan oleh beberapa orang diantaranya Hiroshi Abe sebagai Kyōichirō Kaga (Tokoh utama detektif Polisi), Meisa Kuroki sebagai Ami Aoyama (Wartawan amatir dan kekasih dari anak korban), Osamu Mukai sebagai Kōki Kiyose (Anak dari korban), Junpei Mizobata sebagai Shūhei Matsumiya (Detektif polisi), Yuichi Kimura sebagai Kazumichi Kojima (Kepala detektif polisi), Takashi Sasano sebagai Yosaku Kishida (Teman dekat dan konsultan pajak perusahaan dari suami korban), Mieko Harada sebagai Mineko Mitsui (korban), Tomokazu Miura as Naohiro Kiyose (Suami korban) dan Izumiya Shigeru sebagai Ueshugi Hiroshi (Detektif polisi).

(Sumber gambar: ladyjansneverland.blogspot.com)

Film ini sangat unik, sebab dalam 10 episode yang penuh drama, saya pribadi dibuat salah menebak siapa pelaku pembunuhan sebenarnya. Kalian semua juga harus nonton film ini, sungguh detail-detail ceritanya itu keren dan banyak pelajaran yang bisa didapat terutama yang berkaitan dengan hukum.

Singkat cerita, Mineko Mitsui ditemukan terbunuh di rumahnya tak lama dari ia bercerai dengan suaminya, Naohiro Kiyose. Naohiro adalah seorang direktur utama dari perusahaannya sendiri yang bergerak pada bidang jasa kebersihan. Mereka bercerai karena istrinya menduga Naohiro berselingkuh dengan seorang wanita muda yang dijadikannya sebagai sekretaris pribadi yang hubungannya begitu dekat melebihi dari hubungan profesional. Belakangan, wanita muda itu diketahui sebagai anak kandungnya dari hubungannya dengan pacar pertamanya dulu yang ia tak tahu bahwa dari hubungannya menghasilkan seorang anak perempuan. Drama-drama sisipan dari cerita utamanya ini lumayan bikin saya jadi amaze haha.

Sejak awal, kebanyakan detektif dari kantor kepolisian mencurigai suaminya ini sebagai pembunuhnya, sebab kejadian perceraian mereka bisa dianggap sebagai motif. Namun ternyata bukan dialah pembunuh sebenarnya. Kyōichirō Kaga sebagai detektif yang bertanggung jawab atas kasus ini bekerja dengan sangat baik mengungkap kasus ini.

Ungkapan Cinta kepada Keluarga yang Salah

Pada episode ke-7 cerita tentang Kazuhiro Uesugi muncul. Ia adalah anak laki-laki dari detektif Hiroshi Uesugi yang meninggal karena kecelakaan motor tunggal. Sebelum meninggal, ia pernah tertangkap Polisi karena mengendarai motor padahal belum memiliki surat izin mengemudi. Wajar saja, sebab ia masih di bawah umur untuk bisa memilikinya. 

Ayahnya menjenguk dirinya di kantor kepolisian dan meminta polisi yang bertugas untuk melepaskan anaknya dan menganggap kasusnya tak pernah terjadi. Hal ini ia lakukan karena mencintai anaknya. Ia ingin anaknya lepas dari jeratan hukum dan sambil berharap reputasinya sebagai detektif polisi tetap baik karena tidak ada keluarganya yang tersangkut kasus hukum. Padahal tindakan ini adalah tindakan yang sangat memalukan dari seorang polisi karena mempermainkan hukum dan keadilan. Tindakan yang kemudian ia sesali sepanjang sisa hidupnya.

Kazuhiro sering mengendarai sepeda motor sendiri walaupun belum memiliki surat izin sebab ia bergabung dengan geng motor lokal di wilayahnya. Setelah kejadian di kantor polisi tersebut, seluruh teman-temannya tahu bahwa ia adalah seorang anak detektif polisi yang bisa lolos hukum karena ayahnya. Hal yang membuatnya tak bisa keluar dari geng motor karena teman-temannya terus mengancam akan membongkar cerita itu bila ia keluar dari geng motor itu. Akhirnya ia tetap berkendara di jalan bersama teman-temannya demi melindungi reputasi ayahnya. Hal yang kemudian membunuh dirinya sendiri.

Hiroshi sangat bersedih atas kematian anaknya. Kecelakaan yang ia anggap sebagai pembunuhan, ya, sebagai ayah ia telah membunuh anaknya sendiri, secara tidak langsung. Orang yang sangat ia cintai. Ia berandai-andai, bila saja saat ditangkap polisi ia tak melindungi anaknya, kecelakaan tersebut pasti tidak terjadi. Tak seharusnya ia melindungi kesalahan anaknya sendiri. Bukan begitu caranya melindungi anak tercintanya. Ia menyesal seumur hidup, merasa telah gagal menjadi seorang ayah.

Mencari Pelaku Pembunuhan Sebenarnya

Mineko Mitsui ditemukan terbunuh dengan bekas luka jeratan pada lehernya. Beruntung bekas lukanya masih dapat terlihat dengan jelas sehingga polisi dapat merekonstruksi benda apa yang menjerat korban--sebab di tempat kejadian perkara tidak ditemukan apapun yang diduga digunakan untuk membunuhnya. Detail-detailnya dianalisis, mulai dari benda apa yang dipakai untuk menjerat, jenisnya higga ukurannya.

Detektif Kyōichirō Kaga sangat berhati-hati menentukan siapa pelakunya. Ia tak ingin terburu-buru menyimpulkan siapa pembunuhnya. Ia terus mengumpulkan keterangan banyak pihak, menelusuri koridor dan tempat-tempat yang mungkin dikunjungi oleh pelaku dan mencoba mencari barang yang digunakan untuk membunuh Mineko.

(Sumber gambar: tokyohive.com)

Melindungi Anak adalah Motif Pelaku melakukan Pembunuhan

Setelah melalui proses penyelidikan yang panjang pelaku sebenarnya diketahui. Ia adalah Yosaku Kishida, teman dekat keluarga Naohiro Kiyose yang juga sebagai konsultan pajak kepercayaan perusahaan Naohiro. Hal yang tak pernah terduga oleh banyak pihak. Tak ada satupun alasan yang diketahui untuk mencurigai yang bersangkutan sampai kemudian detektif Kyōichirō Kaga membongkarnya.

Saat berkunjung ke kediaman Asami Kishida, putra dari Yosaku, detektif  Kyōichirō menemukan gangsing tradisional milik anaknya. Berulang kali ia diminta oleh anaknya Asami untuk memutar gangsing tersebut, namun terus gagal. Padahal ia merasa cukup handal untuk memainkan gangsing. Belakangan diketahui bahwa gangsing ini adalah pemberian dari kakeknya. Dan sejak pertama kali diberikan padanya, tak pernah sekalipun gangsing tersebut berhasil dimainkan.

Tidak mungkin gangsing rusak sehingga tidak bisa lagi diputar, apalagi gangsing tersebut masih sangat bagus kondisi fisiknya. Ternyata, bukan rusak, tapi gangsing tersebut diputar oleh tali yang salah, bukan tali sebenarnya yang jadi pasangan gasing itu. Pertanyaannya, di manakah tali pasangan asli gasing tersebut? Hal ini yang membuat detektif Kyōichirō curiga hingga ia berusaha menelusuri semua toko mainan di kota untuk mengetahui dari mana gangsing itu berasal dan bagaimana bentuk tali pasangannya.

Ia berhasil menemukan dari mana gangsing itu berasal. Ternyata, tali pasangannya adalah tali yang mirip dengan karakteristik tali yang dipakai untuk membunuh Mineko. Dari sinilah akhirnya Yosaku berhasil diketahui sebagai pembunuhnya.

Apa motifnya? Diketahui bahwa Yosaku Kishida membunuh Mineko Mitsui--orang yang sebenarnya dekat dengan pelaku--karena Mineko mengetahui ada yang tidak beres terkait keuangan perusahaan mantan suaminya. Ia satu-satunya orang yang sadar tentang ketidak beresan tersebut. Hal yang kemudian membuat Yosaku tersudutkan, mengapa? Sebab Yosaku-lah yang telah menggelapkan uang perusahaan itu. 

Uang perusahaan ia gunakan untuk membantu anaknya yang sedang mengalami kesulitan dengan usahanya, terlilit hutang dan untuk memenuhi gaya hidup anaknya yang mewah. Ia terpaksa membunuh Mineko agar kejahatannya tidak terbongkar. Kejahatan satu mendorongnya melakukan kejahatan lainnya, demi melindungi anaknya, karena kecintaannya pada anaknya.

The witching month is upon us, everyone! It’s that time once again to gather your most spookiest looking plastic skeleton, fully avoid every black cat you would come across, and start mastering your pumpkin carving skills. For this is Halloween!

But for those who’ve already had their fill of Halloween parties over the weekend and were planning a quiet night in front of the TV watching some horror classics, while munching down on the various sweets you collected while trick’ or treating all over your neighborhood, we here at the Retro VGM Revival Hour have a special Treat …just for you!

     ++===========Game – Composer – Title – Company========++

1.) Unforgiving: A Northern Hymn - William Sahl - “A Northern Hymn & Näcken Theme” - November 27, 2017 - Angry Demon Studio - Windows PC

2.) Resident Evil 2 - Masami Ueda, Shusaku Uchiyama & Syun Nishigaki - “Secure place“ - January 21, 1998 - Capcom - Sony Playstation, Windows PC, N64, Sega Dreamcast, Nintendo Gamecube

3.) Deadly Premonition - Riyou Kinugasa, Takuya Kobayashi & Hiromi Mizutani - “Forrest Kaysen, Greenvale, York and Zach & Life is Beautiful” - February 23, 2010 - Access Games/Marvelous Entertainment & Rising Star Games - Xbox 360, PS3 & Windows PC

4.) I Have No Mouth, and I Must Scream - John Ottman - “Ellen's Fatal Flaw, Ellen's Redemption II & Gorrister's Fatal Flaw” - October 31, 1995 - The Dreamers Guild/Cyberdreams – iOS, Android, MS DOS, Windows PC, Mac OS & Linux

5.) Haunting Ground - Seiko Kobuchi & Shinya Okada - “Endless Zero & Precious Hewie“ - April 21, 2005 - Capcom - PS2

6.) Bloodstained: Curse of the Moon - Michiru Yamane, Ippo Yamada, Aoi Takeda, Takumi Sato, Hiroaki Sano, Ryo Kawakama & Ryo Yoshinaga - “Frigid Hell(Stage 2 Theme), Sunder the Night(Stage 5 Theme) & Defiler of Taboos(Stage 7 Theme)“ - May 24, 2018 - Inti Creates Co., Ltd. - Windows PC, PS4, PlayStation Vita, Xbox One, Nintendo Switch & 3DS

7.) Obscure II/Obscure: The Aftermath - Olivier Deriviere - “Corruption with Rage and Melancholy, We all die & Ballets of Deads“ - September 7, 2007 - Hydravision Entertainment/Ignition Entertainment - Windows PC, PS2, PSP & Nintendo Wii

8.) Layers of Fear - Arkadiusz Reikowski - “Memories From The Child's Room, Paintings On The Walls (part 2) & The End (w/ Vocals by Penelopa Wilmann-Szynalik)“ - February 16, 2016 - Bloober Team/Aspyr - Windows PC, Mac OS, PS4, Xbox One & Nintendo Switch

9.) Devil May Cry 3: Dante's Awakening - Tetsuya Shibata ( w/lyrics written by Shawn McPherson & Vocals By David Allen Baker) - “Devils Never Cry“ - February 17, 2005 - Capcom - PS2, Windows PC, PS3, Xbox 360, PS4 & Xbox One

10.) Yakuza: Dead Souls - Mitsuharu Fukuyama, Takahiro Kai, Takeshi Isozaki, Yuri Fukuda, Susumu Tsukagoshi, Chihiro Aoki, Yuichi Kanatani, Daniel Lindholm & Hiroshi Furukawa - “Akiyama (Battle Theme) & Inescapable Battle“ -June 9, 2011 - SEGA - PS3

11.) Castlevania Judgment - Yasushi Asada - “Vampire Killer” - November 18, 2008 - Konami & Eighting/Konami - Nintendo Wii

12.) P.T. ("playable teaser") – Ludvig Forssell –“BGM 3, Bonus Track & Silent Hills”- August 12, 2014 – Kojima Productions (7780s Studio)/Konami – PS4

Edgar Velasco: @MoonSpiderHugs www.patreon.com/nostalgiaroadtrip

Dozens of New Death Stranding, Kojima Productions Items on Sale at TGS

Dozens of New Death Stranding, Kojima Productions Items on Sale at TGS

[ad_1]

Share.

Items will only be available for purchase at the developer’s retail booth at Tokyo Game Show 2018.

By Yuichi Shigeta

IGN can exclusively reveal new Death Strandingand Kojima Productions…

View On WordPress

Dozens of New Death Stranding, Kojima Productions Items on Sale at TGS

Dozens of New Death Stranding, Kojima Productions Items on Sale at TGS

Share.

Items will only be available for purchase at the developer’s retail booth at Tokyo Game Show 2018.

By Yuichi Shigeta

IGN can exclusively reveal new Death Strandingand Kojima Productions…

View On WordPress

LYRICS The Day, every channel The Day, every program The Day, crying for the bitter blow, The Day And I couldn't believe And I still feel the pain I can't close my eyes and make it go away "What for ?" We never know why it must be this way So many have died, but tell me who will win? ☆ We don't live in Heaven This world is full of mistakes We don't live in Heaven Madness, crimes, and fights We don't live in Heaven This world is full of mistakes We don't live in Heaven Still I believe We all hold a heaven inside Sorrow, anger and hate fear and confusion We wander in a never ending maze But I want to believe We'll find a way to the truth Someday, somehow we know we will get there It's never too late! never giving up! So many we have lost, but we don't cry in vain ☆ Repeat ✕2 All Composed by Mutsuhiko Izumi, All Lyrics by HEAVEN, Except "USED TO ROCK'N'ROLL" Lyrics by Brad Holmes Produced by Mutsuhiko Izumi Directed by Miho Toyoda Mastered by Kotaro Kojima (FLAIR MASTERING WORKS) Recording Engineer: Yoshifumi Kureishi, Yasufumi Sugahara Assistant Engineer: Yoshiyuki Hayashi Mixing Engineers: Yoshifumi Kureishi (M1,2,4~7,10,11,13,14) Tomoko Sugiyama (M3) Kazuyo Sakaguchi (M8,9) Jun Miura (M12) Recorded & Mixed at AOI STUDIO, Boomerang, Studio A-tone Drum Technician: Atsuhiro Murakami Guitar Technician: Takuya Kumagai Supervisor: Yumi Izumi Art Direction & Design: Hiroshi Banno Photograph: Masashi Miyazato Styling: Masahiro Hiramatsu Hair & Make-up: Shohei Inoue Label Management: Yuichi Hashimoto A&R Direction: Hiroshi Takeyasu Licensing Management: Kazunari Okido Sales Promotion: Hideki Chosokabe, Eiichi Tsukagoshi Executive Producer: Kuniaki Kinoshita Special Thanks to: Seiichi Sugiura (Art Tech) Koichi Kanei (Deviser) Hideyuki Matsukawa (Hyaku Percent) Nobuya Okuno (Hyaku Percent) Kinya Takano (HOWMIC) Kojiro Sato (Boomerang) Toshimasa Mori (AOI STUDIO) Michiyo Hara (Studio A-tone) Ryosuke Maekawa TAMA Drums Zildjian Cymbals NAOKI MAEDA Yuei Hideaki Shikama Daisuke Kurosawa by DancerZone

ELECTRON | DENKI BARI BRUSH 2.0 +BODY | TVCF

Role | CREATIVE DIRECTION | PLANNING | COPY WRITING

Year | 2022 Client | GM CORPORATION Brand | ELECTRON LAB Product | DENKI BARI BRUSH™️ 2.0 +BODY

これまでにない美容体験を、あらゆる人へ。 うれしい驚きを、すべての肌へ。 アタッチメントの交換で、全身ケアが可能に。 サロンクオリティのトータルケアを、あなたの日常に。 ときほぐせ、全身。 エレクトロン ラボ デンキバリブラシ 2.0 + ボディ

素敵なチームとCM映像の企画・製作をさせていただきました。 フェイス アタッチメントで、顔・頭・デコルテケア。 ボディ アタッチメントで、腕・腹・脚・全身ケア。 アタッチメントの交換で、全身をいきいきと健やかに導く。 機能とスタイルをシンプルに研ぎ澄ませ、進化したブラシ型の低周波美容機器 デンキバリブラシ®︎2.0 +ボディ。顔・頭向けだった製品が、全身に対応したことを、ダンサーの優美かつダイナミックなパフォーマンスで表現。 安価なフォロアー商品が多数出てきている中で、オリジナルブランドとしての誇りと品位を感じるアーティスティックな映像を目指しました。

Team --------- Creative Agency | Flowplateaux Production | WOW inc. Creative Director | Keitaro Shimizu（Flowplateaux） Producer | Yasuaki Matsui（WOW） Assistant Producer | Kanako Kaeriyama（WOW） Production Manager | Fumika Yoshizaki Production Manager | Naoki Take（HANABI） Director | Shuhei Yamada（HANABI） Cinematographer | Mao Oogawara Lighting Director | Kosei Kobayashi（OFFICE KOSEI） Hair&Make-up | Misato Narita Stylist | Yumi Kawasaki CG director | Tsutomu Miyajima（WOW） CG designer | Kazunori Kojima（WOW） Matchmove | Yasuhiro Kato Editor | Tomokazu Iitani（honkidasuzo.inc） VFX Compositor | Hiroyuki Sai（IEMOTO） Assistant VFX Compositor | Kenjii Sakaide（IEMOTO） Colorist | Yoshiyuki Nishida（C STUDIO） Sound Engineer | Yohei Miura（step） Music / Sounddesign | JEMAPUR Narrator | Fumie Mizusawa（AONI PRO） Choreographer | Ryo Noguchi Casting | Yuichi Uchida（ACT studio） Cast | Anna Ogishima（SATORU JAPAN）

おーさむ1周年。大好きな奴らがワイワイしてるとこ。みんなで行こうよ。 2017.10.28.(sat) 「AWESOME SATURDAYZ -1st Anniversary-」 -Every 4th Saturday- @千葉Loom Lounge Hip Hop, Japanese Hip Hop, R&B, all Good Music... entrance : Door¥2000/1D, Adv¥1500/1D <music by> Guest Live : ラッパ我リヤ DJ : NZ, ケンイージー, KZ, YUICHI, SHINGO, Lily, Funky☆G Live : 大<オロチ>蛇, タンクトップ大輔, Coda, DIEZEL, D-SKIN, Y氏, TONE, ヨシタ, 圧接屋 Dance : Now Booking... <Guest Info> ラッパ我リヤ プロフィール 1993年に三善善三と共に結成され、後にQ、山田マン、DJ TOSHI の3名のメンバーで活動開始。 1995年伝説のコンピレーションアルバム『悪名』に『ヤバスギルスキル』を送り込む。鮮烈なスタイルを世に送り込み続けているMC's。数多くの客演やフジロック、ロッキンオンジャパンなどのフェスでも多数オーディエンスをロックして来た実力派。グループ名の由来は、いつでもどこでもラップしたがる"ラップしたがりや"と、ワックなMCを退治する"ラッパー狩り屋"という言葉の造語からきている。 96年に初の単独名義となるミニアルバム「ヤバスギルスキル Pt.2」をリリース。DJ KENSEIのプロデュースの元、アンダーグラウンドヘッズを狂喜乱舞させるドープな「我リヤワールド」を確立。 97年には、MC Qが自ら党首となって立ち上げたレーベル、"走馬党Entertainment"から「言葉の科学」をリリース。98 年にはファーストフルアルバム「SUPER HARD」を発表、インディーズながらも約7万枚のセールスを記録した。 2000年、Dragon Ashとの「Deep Impact feat.ラッパ我リヤ」がオリコン総合2位にランクインし、累計セールスはミリオンに至る。ジャンルの壁を越えたコラボレーションにも積極的に参加し、幅広い層からの人気を得る。そして同年、満を持して発表した2nd Album「ラッパ我リヤ伝説」は20万枚のセールスを記録し、JAPANESE HIPHOPシーンにおけるハードコアスタイルを世間に知らしめ、その人気を不動のものにした。 03年には、ヒップホップスターとしてのステータスとも言える映画主演を「3on3」にて実現。同名のサントラ盤も手掛けた。更に、年に一度のHIPHOPの祭典「B-Boy Park 2003」のテーマ曲にラッパ我リヤの「NORINA」が大抜擢、当日のステージでも見事にラストを飾った。そして、2001年の「日本改造計画」発表後、約2年振りとなる 4th アルバム「RG A.I.R. 4th」を発表。この作品は、その意外性が大きな話題を呼んだ ILL-BOSSTINO(THA BLUE HERB)との競演等もあり、バラエティに富んだ作品となった。 03年9月、名曲「yeahと言え」から最新ポッセ・カット「K.I.D」までを収録したベスト盤「BEST of RG」をリリース。そして、05年8月に5thアルバム「RAPPAGARIYA」、06年10月には6thアルバム「NO HIPHOP NO LIFE」、7thアルバム「MASTERPIECE」を立て続けにリリース。 メンバー各々のソロアルバム、クルー『走馬党』としてのアルバム発表等を経てついに2017年、衝撃のニュースがやって来た! ラッパ我リヤ×MS!! まさにときは満ちた!! 満を持してMS Entertainmentへ移籍。 2000年のコラボ以降、約17年ぶりのKj(Dragon Ash)とのコラボ曲や、MURO、サイプレス上野、KOJIMA(山嵐)、韻踏合組合等との熱いタッグマッチも収録される、実に8年ぶりとなる大傑作アルバム「ULTRA HARD」リリースとなり、iTunes HIPHOP チャートでも首位の座を！ ついにULTRAHARDを引っさげ ラッパ我リヤ ツアー 2017 〜ULTRAHARD〜 開始された！ ヤバスギル!、聞き逃せない!! Don't Miss it ‼

Phỏng vấn cặp đôi Anisong ORESAMA: Họ đã tạo ra những ca khúc rực rỡ của mình như thế nào? [Phần 1]

New Post has been published on https://love2d.net/2017/08/26/phong-van-cap-doi-anisong-oresama-ho-da-tao-ra-nhung-ca-khuc-ruc-ro-cua-minh-nhu-nao-phan-1/

Phỏng vấn cặp đôi Anisong ORESAMA: Họ đã tạo ra những ca khúc rực rỡ của mình như thế nào? [Phần 1]

Chao xìn xin chào mừng các bạn đã tới với series phỏng vấn những người nổi tiếng (nói có vẻ hơi quá nhỉ). Cũng đã có khá nhiều nhân vật xuất hiện tại đây, như Idol Nana Okada - đội trưởng của STU48, hay seiyuu Fukushi Ochiai, đạo diễn Yuichi Fukuda, và rất nhiều họa sĩ minh họa nổi tiếng hiện nay. Và hôm nay, chúng ta cùng tiến hành phỏng vấn cặp đôi Anisong (là những nhóm nhạc chuyên sáng tác/hát những ca khúc trong Anime) đang ngày càng nổi tiếng hơn trong năm 2017, đó là ORESAMA. Nhóm là 1 cặp nam nữ: Hideya Kojima (nam) viết nhạc trong khi Pon (nữ) viết lời. Họ bắt đầu nổi tiếng từ đầu năm 2017 sau khi thực hiện ca khúc ‘Wonder Drive’ - Opening của Alice & Zouroku, cùng với đó là ‘Trip Trip Trip’ của Mahojin Guru Guru. Cùng tìm hiểu xem cách mà họ tạo ra những ca khúc ấn tượng như vậy nhé.

- Hai bạn có vẻ là người rất tự tin nhỉ, khi mà lấy tên nhóm là ORESAMA (là từ để chỉ những người quá tự tin/kiêu căng)?

Pon: Không phải thế đâu. Thật ra là ngược lại ấy. Bọn mình muốn có cảm giác bị áp lực trên sân khấu, để có thể cố gắng hết sức mình. Chứ ngoài sân khấu thì bọn mình không nổi tiếng lắm đâu

-Vậy tức là các bạn đang muốn tự tạo căng thẳng cho mình…

Kojima: Cũng có thể nói như vậy. Mình luôn muốn trải nghiệm cảm giác căng thẳng nhưng vẫn có thể tự tin bước lên sân khấu và thể hiện hết mình, cảm giác đó thật phi thường. Bọn mình muốn cảm thấy như thế chỉ trong khoảng thời gian đó thôi.

– Tính cách của ‘ORESAMA’ có vẻ ổn khi các bạn có thể bật - tắt nó.

Kojima: Mọi người xung quanh có lẽ sẽ gặp rắc rối nếu ‘ORESAMA’ của bọn mình cứ thay đổi liên tục [cười]

- Các bạn đã phát hành 2 anisong liên tiếp: ‘Wonder Drive’ - ca khúc đầu tay và cũng là ca khúc mở đầu của Alice & Zouroku, và ‘Trip Trip Trip’, ca khúc mở đầu của Mahojin Guru Guru. Mình nghe nói rằng cả 2 đều nhận được phản hồi rất tốt từ nước ngoài.

Pon: Ừm, đúng vậy, bọn mình đã nhận được ý kiến ​​từ nhiều quốc gia trên YouTube và Twitter. Mình cũng nhận được một thông điệp từ một người Hàn Quốc nói rằng 'tôi sẽ tham dự buổi phát hành của bạn. Thậm chí là  một người Mỹ đến để xem chương trình trực tiếp của bọn mình. Thật sự là ngạc nhiên lắm đó nhé. Kojima: Mặc dù mình không thể hiểu hoàn toàn chính xác những ý kiến từ nước ngoài, nhưng mình cảm thấy họ đang ủng hộ bọn mình với những từ ngữ mà họ dùng. Điều này, thật sự hạnh phúc đấy.

- Các bạn đã nghĩ tới mục tiêu là những khán giả nước ngoài khi viết nhạc chưa?

Kojima: Hiện giờ thì chưa, những gì bọn mình muốn tạo ra là ORESAMA với ‘chất lượng J-pop.’ Mình có nghe nhạc nước ngoài và chịu ảnh hưởng từ chúng. Tuy nhiên mình sáng tác nhạc với giai điệu tuyệt vời 1 cách nghiêm túc. Và mình nghĩ điều đó sẽ thu hút nhiều sự chú ý từ nước ngoài. Mình muốn sáng tạo ra J-pop tối thượng với ORESAMA.

-Mình nghe nói rằng ORESAMA hoạt động phân chia công việc rất rõ ràng.

Pon: Trước tiên thì Kojima sáng tác nhạc và mình thì chọn cái mà mình thích rồi viết lời cho nó. Đôi khi mình lại viết lời trư���c và anh ấy sáng tác nhạc cho chúng. Kojima: Bọn mình đều cảm thấy thoải mái theo cách này. Đôi khi bọn mình cũng có thảo luận về vài vấn đề nhỏ, nhưng bọn mình tin tưởng lẫn nhau và tôn trọng cảm xúc của mỗi người. Vì vậy, mọi thứ vẫn suôn sẻ khi bọn mình làm việc riêng biệt.

-Kojima, bạn có cảm thấy ấn tượng gì với lời bài hát của Pon?

Kojima: Cho dù là trong công việc hay không thì cô ấy vẫn rất giỏi và tự nhiên trong việc thể hiện bằng lời nói. Đôi khi lời bài hát liên quan tới cả mình nữa [cười] Hơn nữa, Pon thể hiện nội tâm của nhân vật chính  trong ca khúc một cách trực tiếp, nên mình nghĩ rằng những khán giả nữ cảm thấy sự thấu cảm đặc biệt với lời bài hát của cô ấy. Và cô ấy rất giỏi thể hiện bản thân bằng lời chứ không phải là câu.

-Có sự khác biệt nào giữa lời bài hát và câu vậy?

Kojima: Có thể nói rằng "câu" thì thường là đơn điệu quá, và ít cảm xúc. Lời bài hát thì không như vậy. Pon tỏa sáng trong việc sử dụng những khác biệt tinh tế trong lời bài hát của mình. Mình tập trung vào các giai điệu khi sáng tác nhạc, và cô ấy không chỉ xuất sắc trong việc cung cấp lời bài hát mà còn nhấn mạnh chúng, mặc dù bản thân lời bài hát đã tuyệt vời rồi, nay lại càng sâu sắc hơn.

- Cô ấy có thể viết những lời bài hát nhấn mạnh sự quyến rũ mà những giai điệu của bạn tạo ra?

Kojima: Đúng vậy. Cô ấy rất cẩn thận trong việc lựa chọn từ ngữ để sử dụng trong lời bài hát, để nhấn mạnh những giai điệu Pon: Mình hiểu rõ sự quan trọng trong việc lựa chọn những từ ngữ. Ví dụ mình có thể chọn sugoku thay vì totemo [cả hai từ đều có nghĩa là "rất", tuy nhiên sugoku có sắc thái mạnh mẽ hơn, và không quá trang trọng] bởi vì nó mang lại ý nghĩa chính xác và âm điệu mạnh mẽ hơn khi hát với giai điệu đặc biệt. Mình cố gắng sử dụng những từ khiến giai điệu trở nên sinh động hơn để hát, cả trong ý nghĩa và âm điệu.

-Pon, bạn nghĩ gì về những giai điệu mà Kojima tạo ra?

Pon: Âm nhạc của anh ấy, có lẽ gây ấn tượng rất mạnh với người nghe, hay có thể nói là quyến rũ họ. Khoảng thời gian 5-10 giây đầu tiên của ca khúc là quan trọng nhất, chúng phải gây ấn tượng với  người nghe, khiến họ muốn nghe tiếp. Ngày nay, nhiều bài hát bị lãng quên 1 cách dễ dàng vì giai điệu không đọng lại trong tâm trí người nghe. Kojima biết điều đó, vì vậy anh ấy sáng tác nhạc để có thể gây ấn tượng với người nghe ngay khi họ bắt đầu nghe. Khi mình viết lời bài hát, mình sẽ chọn một tác phẩm thu hút sự chú ý của mình ngay lập tức từ nhạc mà anh ấy đã sáng tác.

- Bạn chỉ chọn những giai điệu thu hút, vậy có nghĩa là không phải tất cả sáng tác của Kojima đều được bạn viết lời?

Pon: Như đã nói, mình chỉ chọn những tác phẩm THU HÚT mình thôi. Kojima: Cô ấy không chỉ không viết lời cho tất cả nhạc của mình, mà đôi khi cô ấy thậm chí còn không trả lời khi mình gửi nó nữa. Trong trường hợp đó, mình sẽ bắt đầu lại. Sự phản hồi của Pon đối với âm nhạc của mình, thật là rất dễ hiểu. [cười] Vì cuộc phỏng vấn rất dài, để tránh gây nhàm chán, nên chúng ta sẽ tạm nghỉ tại đây nhé. Hẹn gặp lại các bạn vào sáng ngày mai, với phần sau của cuộc phỏng vấn.  

LYRICS Be Proud of who you are その存在こそ　祝福されて今　ここにあるのだから 長い夜が明けて　光が射す この世界にまたひとつ　新しい命 恐れないで出ておいで　この世は素晴らしい 空と海と大地に　抱かれ生きてゆこう Be proud of who you are すべて ありのまま 生きとし生けるもの すべてそのままに 混沌の中　見失って　生き惑い　立ちすくむ 震えるその心を　ただ抱きしめていて 思い出して　ほら　私達は皆 おなじこの星に生きている仲間 全てつながる命 Be proud of who you are すべて ありのまま 生きとし生けるもの すべてそのままに Be Proud of who you are 認め合う世界 生きとし生けるもの　全てそのままに 全てそのままに All Composed by Mutsuhiko Izumi, All Lyrics by HEAVEN, Except "USED TO ROCK'N'ROLL" Lyrics by Brad Holmes Produced by Mutsuhiko Izumi Directed by Miho Toyoda Mastered by Kotaro Kojima (FLAIR MASTERING WORKS) Recording Engineer: Yoshifumi Kureishi, Yasufumi Sugahara Assistant Engineer: Yoshiyuki Hayashi Mixing Engineers: Yoshifumi Kureishi (M1,2,4~7,10,11,13,14) Tomoko Sugiyama (M3) Kazuyo Sakaguchi (M8,9) Jun Miura (M12) Recorded & Mixed at AOI STUDIO, Boomerang, Studio A-tone Drum Technician: Atsuhiro Murakami Guitar Technician: Takuya Kumagai Supervisor: Yumi Izumi Art Direction & Design: Hiroshi Banno Photograph: Masashi Miyazato Styling: Masahiro Hiramatsu Hair & Make-up: Shohei Inoue Label Management: Yuichi Hashimoto A&R Direction: Hiroshi Takeyasu Licensing Management: Kazunari Okido Sales Promotion: Hideki Chosokabe, Eiichi Tsukagoshi Executive Producer: Kuniaki Kinoshita Special Thanks to: Seiichi Sugiura (Art Tech) Koichi Kanei (Deviser) Hideyuki Matsukawa (Hyaku Percent) Nobuya Okuno (Hyaku Percent) Kinya Takano (HOWMIC) Kojiro Sato (Boomerang) Toshimasa Mori (AOI STUDIO) Michiyo Hara (Studio A-tone) Ryosuke Maekawa TAMA Drums Zildjian Cymbals NAOKI MAEDA Yuei Hideaki Shikama Daisuke Kurosawa by DancerZone

All Composed by Mutsuhiko Izumi, All Lyrics by HEAVEN, Except "USED TO ROCK'N'ROLL" Lyrics by Brad Holmes Produced by Mutsuhiko Izumi Directed by Miho Toyoda Mastered by Kotaro Kojima (FLAIR MASTERING WORKS) Recording Engineer: Yoshifumi Kureishi, Yasufumi Sugahara Assistant Engineer: Yoshiyuki Hayashi Mixing Engineers: Yoshifumi Kureishi (M1,2,4~7,10,11,13,14) Tomoko Sugiyama (M3) Kazuyo Sakaguchi (M8,9) Jun Miura (M12) Recorded & Mixed at AOI STUDIO, Boomerang, Studio A-tone Drum Technician: Atsuhiro Murakami Guitar Technician: Takuya Kumagai Supervisor: Yumi Izumi Art Direction & Design: Hiroshi Banno Photograph: Masashi Miyazato Styling: Masahiro Hiramatsu Hair & Make-up: Shohei Inoue Label Management: Yuichi Hashimoto A&R Direction: Hiroshi Takeyasu Licensing Management: Kazunari Okido Sales Promotion: Hideki Chosokabe, Eiichi Tsukagoshi Executive Producer: Kuniaki Kinoshita Special Thanks to: Seiichi Sugiura (Art Tech) Koichi Kanei (Deviser) Hideyuki Matsukawa (Hyaku Percent) Nobuya Okuno (Hyaku Percent) Kinya Takano (HOWMIC) Kojiro Sato (Boomerang) Toshimasa Mori (AOI STUDIO) Michiyo Hara (Studio A-tone) Ryosuke Maekawa TAMA Drums Zildjian Cymbals NAOKI MAEDA Yuei Hideaki Shikama Daisuke Kurosawa by DancerZone