✟K.O.D✟

Rouage Rika

2006

I got these cds today, I love KILHI+ICE

Atelier Boz - Ange Cross OP (2002)

In concern of the mixed relations between later Lychee adaptions and the original Tokyo Grand Guignol affiliates, while many members held complicated feelings towards Furuya’s manga, many speak of Osada’s renditions with an open fondness. Despite Osada having retired from horror manga, he remains a fan of the Tokyo Grand Guignol. On Tsunekawa’s own accounts, Osada was even invited as a cohost for a special Tokyo Grand Guignol memorial event. While I understand the concerns of said affiliates with the increasingly detached and commercial nature of subsequent Lychee spinoffs (with there now being an idol band, comedy anime, etc) I like both Furuya and Osada’s manga works equally as their own interpretations of the TGG’s story. Neither can be direct replacements or likenesses, but instead unique adaptions of a now phantom-like work in how it was known to exist, but can never be directly witnessed in its original form. The screenplay for Lychee Light Club remains unreleased to this day, whilst the screenplays for Mercuro, Galatia Teito Monogatari and Walpurgis were all printed in one way or another in various publications. Osada and Furuya were both authors who were inspired by the underground originality of the production, but Furuya’s was the one that would gain a broader commercial success despite the underground nature of the Tokyo Grand Guignol. It could essentially be read as an ideological complication, with how the theater group was abandoned with the departure of Ameya and K Tagane, what should happen with the legacy of their art? Some fear that the success of Furuya’s manga would ultimately erase Ameya and Tagane’s history. With proper handling though, it could be a gateway into a previously obscure period of underground theater. Original video recordings do exist of several of the Tokyo Grand Guignol’s events, and if published through a public service like Ubuweb (which hosts videos of performances by the Tenjo Sajiki like Directions To Servants, Cloud Cuckooland and The Lemmings), the plays can be assured a lasting cultural legacy in the field of experimental art. In a recent pandemic-era interview, Norimizu Ameya gave his opinions regarding the availability of video recordings of his plays. In the interview, he roughly said the following: “I’ve always believed that there is a finite nature to theater. The fact that it disappears on the spot is the ultimate fate of theater. I have left behind hardly any works from my past. I see myself as a director rather than a playwright, so I have almost no plays. I also feel that many people generally wouldn’t enjoy the videos that do exist as records. I do think however that it’s very important that anyone who is interested in a work can watch it at any time, even if it’s a small number of people. When I was asked to direct Transfer Student, I went to the Wasada Theater Museum to watch a video of the play’s first performance under Oriza Hirata’s direction. I think it’s a good thing that the eyes that have passed through time were able to create a circuit that provides a direct connection to the past. The fact that it’s possible to transcend the finite limit to help others is a testament of humanity.“

sakuya_art_

fashion inspo board

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In 2004 I obsessively saved all these pictures of BJDs. I have no idea where they're from, or honestly what sculpts they even are? Although I would assume a bunch of them are Volks SD because I think that was mostly your only option back then. BJDs in that era were the driving force behind me getting into Lolita fashion. First I wore bad Hot Topic/thrifted stuff, then I hyper focused on getting dolls and dressing them up, then I learned that brand wasn't as small as I thought it was and I could just buy "authentic" Lolita dresses for myself.

三毛猫病院 現代奇想音図鑑 | 2002.09

Miscellaneous scans of pictures taken at the hide MUSEUM in 2005

十 HEMOGLOBIN ELEGY 🩸