The kind of people who will look at a rock and won’t stop until they find some sort of philosophical meaning in it. Haikyū!! Some of her most prominent roles include that of Tadamichi Aoba in Dan Doh! If Garo seems a substantially different publication come the early 70s, the reason is not just that the 60s “season of politics” had ended, but that one of its editorial brains had defected. Kitajima Saburō’s Brother Loyalty (Kyōdai jingi) and Ship of Tears (Namida bune). It’s precisely because you watch it as just a mere commercial that a certain shot strikes you as really fresh. I’m not saying this to sound tough. As promised last time, translated below is an interview between Hayashi Seiichi and Sasaki Maki, published in the February 1969 issue of Garo. You make some gesture, it gets associated with some anti-establishment movement, and people think the one is equivalent to the other. For critics, Suzuki represented how art and commercial entertainment need not be exclusive, in fact how they could feed off one another within a single person’s oeuvre, even within single films. MyAnimeList is the largest online anime and manga database in the world! Clearly, a rich history could be written by fleshing out the above. It’s like the difference between flowers and ikebana. Together they suggest a new understanding of what a cartoonist can be and what a cartoonist does. If the daily life of the cartoonist was important, that had to be proved through the work, namely in the diaristic “I-novel” genre that Yoshiharu popularized. Manga or cinema or music scoops up whatever words cannot contain, whatever escapes the mesh of words. They can be sung to a melody at any time. People come looking for work even from Okinawa. “Yeah yeah yeah,” really punchy, lots of energy. For some people 1 + 1 is 2, for someone else it’s 5, and for another person it’s 10. In many pages, it’s like space has been cut up and then re-condensed inside a given span of time, and the pages progress that way. And Tatsuhisa Suzuki as Ken Ryuguji , Manjiro's right hand man. You also find a significant amount of “cosplay” in these segments. JLPT N4 Kanji list, You need to learn to pass JLPT N4 exam. series. Fifties kashihon and adult manga frequently showed the cartoonist as a beret-topped bohemian. Hayashi: I like Overflowing Petals (Kobore bana, by Ishihara Yūjirō). . It is dubbed in Barcelona, by Deluxe 103. The main staff for Tokyo Revengers includes: Sasaki: I like the lack of commitment (musekinin). Hayashi: Sometimes people call my manga and your manga “difficult,” but I don’t think that applies to either of us. Maybe everything is like that. Yū Shimaka: Francis Denis Leary: Masahiko Tanaka: Manny Jonathan Harris: Takehiro Koyama: Gypsy Madeline Kahn: Keiko Aizawa: Rosie Bonnie Hunt: Kayoko Hayashi: Tuck and Roll Michael McShane: Ryūji Mizuno: P.T. Afterwards, once I think I’ve finished saying whatever it is I wanted to say, I reshuffle the pages like pack of cards. I don’t think any one person or group can be the spokesperson. "MYSTERIUM" (July 26, 2017), opening theme for TV anime Vatican Kiseki Chousakan. There’s no logic to it, and it’s not just sentimentality, but tears come to my eyes. . [The song, set in Manchuria, is about the experience of having fellow soldiers die beside you.]. Hayashi: I have nothing like that. He likes writing poetry and collects dinosaur bones. It doesn’t express any anger. Sasaki: The fashionable way to put it these days is, “What does the reader mean to you?” (Laughs) But like with your work, I only started getting into it once I stopped being able to read into it. See, I think the Beatle’s energy was nihilistic. That’s why I think of “A Dream in Heaven” as my first work. Especially about skillfully turning those conditions to your advantage. Shokugeki no Soma. " The conversation was all over the place, so it’s hard to say that it smoothly followed a single theme. When someone says something is difficult, it’s because they are trying to understand it with their 1 + 1 formula, though it can’t be answered that way. Sasaki: There really are some amazing lullabies (komori-uta). Romaji translations are unofficial. Required fields are marked *, In this 1998 interview, Richard Sala discusses his genre influences, style, and pop culture obsession. He is unable to clap his hands due to his short arms, but this doesn’t stop him from trying to do so. Yū Hayashi (林 勇 Hayashi Yū, born April 2, 1983) is a Japanese voice actor from Zama, Kanagawa, Japan, attached to Ken Production. Hayashi: They don’t have the aesthetic consciousness to do so. Sasaki: In my case, there are intellectual readers. Sasaki: You shouldn’t only think about it as a person starting off as a child and then becoming an adult. Hayashi: You find the act of editing interesting? It’s better when you don’t have any expectations. Age 37; Born 1983-04-02 in Zama, Kanagawa Prefecture, Japan There are a lot of immigrants (nagaremono, “drifters”) in Kobe, and very few people whose ancestors have been living there for generations. . Given the amount of ink spilled over The Legend of Kagemaru in the early and mid 60s, the simple fact that Garo was Shirato’s magazine probably guaranteed that it would be talked and written about. Haikyū!! Cry cry baby, they’re that sort of movie. Water Yoshino Takamori 15 1992 Hiei Yū Yū Hakusho Nobuyuki Hiyama Ami Mizuno Sailor Moon Aya Hisakawa 16 1993 Kurama Yū Yū Hakusho Megumi Ogata Belldandy Oh Kōki Uchiyama (1,679 words) [view diff] exact match in snippet view article find links to article There’s a French animated film called Le Roi et l'oiseau. Translated with permission of the artists. Hayashi: It’s no fun going to see so-and-so’s whatever, expecting something, and then being disappointed if it doesn’t happen. Hayashi: No, I think the soil for something to sprout will always be there. Hayashi: Light from the center is being projected outward and that erases roots. well, that’d be painful. Yū Hayashi (林 勇, Hayashi Yū, born April 2, 1983) is a Japanese voice actor and singer from Zama, Kanagawa attached to Ken Production.Formerly a child actor attached to Gekidan Himawari, he mainly specializes in dubbing roles.He is vocalist of SCREEN Mode, a band signed with Lantis War songs, though, I don’t think they are having the effect on us that they are supposed to. Hayashi Seiichi, Giant Fish, Garo (May 1968). Hayashi: You’re saying that’s why their early period is good? Sasaki: When manga is used for satire, manga is being used as a means. My long life will be withered with frost. The following is a list of CDs and soundtracks in Season One's Haikyū!! and the giant fish is the USS Enterprise. Maybe it’s that I wanted to say whatever it was that I had wanted to say. The initial energy they had has like evaporated on the frontier of enlightenment or something. Then again, I think they do speak for some part of what’s going on now, so I can’t say they don’t speak for anything. Though many of Hayashi and Sasaki’s references will be opaque to non-Japanese (namely the names of writers and musicians), I’ve decided to add only enough commentary to make clear that Hayashi and Sasaki were as (if not more) interested in the poles of pop culture and personal identity, and they than they were in the hot nodes of 60s radical politics and the nouvelle vague. He's obsessed with outer space and wants to be the first dog on Mars. They don’t put value in anything. His natural hair color is black. They’re really just not there, even if they should be. The title song, You-You-You, is the fifth opening song of the anime Keroro Gunso sung and performed by Polysics from episode 130 to episode 154. Baby Bambi : Hayashi Yū / はやし ゆう / ... - In the Tajik TV dubbing, the songs were left in English. 1 (March 15, 1959); Right: Garo no. I’m not sure how to explain that feeling. He is the official Japanese dub actor for Jason Scott Dolley and Shia LaBeouf. Underneath, he wears a gun strap for his dual guns. I respect that kind of manga. Takano was also responsible for helping build discourse around Garo through supplementary publications. That is, as long as I am guaranteed a publishing outlet that let’s me do exactly what I want to the very end. This thanks not just to innovative art, but also a set of overlapping editorial policies that other magazines could not afford to employ either individually or together. Hayashi: But when the issue of beauty comes up, that becomes clear. Hayashi: Do you ever feel that you want readers to understand your work? At the same time, I also respect manga that is part of the wider field of using images (eizō). (Laughs). If someone finds something in one panel that speaks to them, then that changes the tone of the entire work for them. In kabuki people will yell out “Narikomaya!” [the name of a family of actors], but it would be interesting if they did something like that in a Beatles film. Spring shall never come, such is my fate. This fading shadow. Suzuki Seijun’s not really like this, but you do something precisely because you don’t want to do it. Left: Asahi Journal no. Hayashi: So what do you think about enka? Put together by Takano, this cheaply produced booklet is a must-have for any student of early manga criticism, though its primary purpose was to hook advertisers, by saying, hey look, smart people and university students are crazy about us, so join the bandwagon. Like, what makes the nation beautiful? (Laughs) But when someone is able to pow! Listen to music by Yuta Hayashi on Apple Music. Sasaki: But they’re no longer the spokesmen of youth. Like interviews in other manga publications, Garo frequently dipped into the artist’s personal likes and dislikes, but usually not as an end in itself, rather to segue into wider and more abstract discussions about the artist’s relationship to art, pop culture, and historical events. That’s when composure matters most. It’s like When Johnny Comes Marching Home, which was originally an anti-war song. If it’s good, that’s enough. It’s not that the fish itself is a symbol of the nation or anything. So to completely lose the ability to express oneself? Yū Hayashi is a seiyū and singer born on April 2, 1983 in Kanagawa Prefecture. "Singing Our Own Song," Garo (February 1969). This video is published with the good intention of sharing and appreciating the music and scenes. VIP. One can’t just take a company’s directives as is, but like Hayashi said earlier, you have to create while discovering yourself within those conditions. But as his exchange with Sasaki attests, the artist himself was thinking about ways in which experimentation and excess could form an integral part of an expanded model of “mass entertainment.”. I don’t think there’s such a thing as a venue that will not let your express yourself whatsoever, no matter how intricate the situation might be, even if you’re made to move along a single track. Sasaki: So when’s its finished, the order inside a single page is fixed, but even that I wish I could change. Sasaki: I’m giving away the secrets of my trade, but when I draw I don’t think about page order, I just draw one page a day. More than half of the essays were on Garo artists. If you force me to explain it, I think I’d say that drawing manga is a kind of “violence.” Giving “birth” to something is violent, right? Ryūnosuke Tanaka - Yū Hayashi. Sasaki: When you have a situation like in Vietnam, in a sense it becomes easier to act. I shut myself in. I don’t think that’s changed even now. The submarine I-1 is unable to surface and sinks, then Umi yukaba plays. Hayashi: Do you think it’s possible to reorder the pages once the editing is finished? When you go see plain old erotic films or samurai films, it’s a real shock when a striking shot occurs. (Laughs). I don’t really think much about readers. But let’s lend our ears to what they had to say nonetheless. Hayashi: I don’t get the feeling that the Beatles are enlightened. First it was turned into a school song (ryōka) and then into the May Day song after the war. Sasaki: That’s an anti-war song to me. Ono Jūzaburō wrote about this in one of his poetry treatises, that a nihilism that sees god is boring, that nothing is worse than a nihilism that turns into optimism through enlightenment. This is a list of music and OSTs used in the Haikyū!! Wow… there are so many fascinating exchanges here. Gondō Susumu (Takano Shinzō), The People Who Built Garo (Horupu shuppan, April 1993), cover by Kobayashi Kenzō. People need to look more closely at their own place in the world and refuse the light from the center. There is no design to speak of, just an assembly of (for the most part) good-looking comics supplemented by a few pages of plainly laid out text. Kitajima Saburō, Brother Loyality (Nippon Crown, 1965). When you try to spread your wings, that’s when you see that they [the nation and the family] actually do exist objectively, and they rope you in and bind you all up. Hayashi: I’ve made a living in animation, when all of sudden I wanted to start making manga. Sasaki was an art school drop-out (Kyoto University) with no professional artistic experience until after his success in Garo, while Hayashi had worked for six years as an in-betweener and key frame artist at Tōei and KnacK before turning seriously to manga. Intellectual journals, weekly news magazines, and other trade papers had been increasing their coverage of manga since the late 50s. Only the lyrics are brave. When beauty emerges, those conditions . Hayashi: Like a chink in the armor, so to speak. As I explained last time, even though the sprit of late 60s avant-gardism thrived in certain Garo artists work, one cannot say the same for the magazine as a whole. That will help make sense of why they butt heads in the beginning over the relationship between art and commerce, which in turn is important for how one defines and thinks about “avant-gardism” in manga. It’s probably like this with anything, but there’s this idea that there’s a line that links things, that says what 1 + 1 is. It’s possible for both to happen at the same time. Things are fluid. I feel like that’s similar. [The song, set in Manchuria, is about the experience of having fellow soldiers die beside you.] The Richard Sala Interview by Darcy Sullivan, “You Have To Be Willing To Take The Chance That It’s Going To Suck”: An Interview With Rory Blank, Rip It Up And Start Again – This Week’s Links, Italian Gallery Offers Digital Access To Caniff Exhibition. Hayashi: I don’t pay much attention to what’s going on outside. To put it bluntly, it’s a song of defeat. He is a first-year literature student in university and is a member of the male cheerleading club, Breakers. Hayashi: I don’t really feel that way, about the nihilism or anything. Sasaki: That’s an anti-war song to me. Even if you don’t want to, you do it, that’s another form of expression. For the most part, people from Kyushu or further south like Amami Ōshima don’t come all the way to Tokyo, they end up finding work in Osaka or Kobe, stay there for awhile, and then move to somewhere else. (Laughs). https://haikyuu.fandom.com/wiki/Music?oldid=96066, Haikyū!! I don’t know if that’s possible. It’s like we just float along. Sasaki: In the case of novelists, take Oe Kenzaburō. I like that cookie cutter-type enka. Hayashi: I’m sure this depends a lot on the environment in which you were born and grew up, but in my case the existence of the family is actually really strong. Does it make them feel sad? Terayama Shūji or someone said that what’s distinctive about enka is that it can’t be sung as a chorus. !. He is considered to be the most responsible one in his family, while Dolly's has a more adventurous personality. 11; Level E – Kyoko Mikihisa; Maria Holic: Alive – Mariya Shidō; Sket Dance – Kikuno Asahina/Daisy . Looking for information on Yuu Hayashi? I wasn’t really thinking of what the goal or purpose of manga was. Hayashi Seiichi was born in Tokyo, and is 23. Sasaki: The melody of We Shall Never Forgive the Atomic Bombings (Genbaku o yurusumaji, 1953), that’s an elegy. The brief snippets about the cartoonist’s daily life that you get in those interviews help round out that picture, which emphasized not poverty but dapper professionalism. When, that is, cartooning in Japan was considered interesting and culturally significant enough to warrant public revelations regarding what went on inside its creators’ heads. The Spanish version of Steven Universeaired on May 31, 2014. Hayashi: For me, it’s not individual singers that I like, but songs. Yu Hayashi is a Japanese voice actor known for voicing Ryunosuke Tanaka, Smokey, and Takuya Arima. No one will say that they are a victimizer. For manga criticism as well, Nihon dokusho shinbun was an important venue. Hayashi: I was born and raised in Tokyo, so everything is too easy. That’s having an effect and it’s creating tensions. Note Hayashi’s mention of director Suzuki Seijun’s name in this context. Everyone who makes work of course has their own way of doing things. But then it was turned into a war song for brave soldiers of the South, and then back again into an anti-war folk song. Sasaki: When you get to like “Revolution” or Revolver, god has arrived and I just can’t get into it anymore. Red Colored Elegy is the obvious example, but there are other works closer to Suzuki in sprit. The show follows the daily lives of each member and shows their interactions with each other, their teachers, friends and families.At first, despite being successful in saving the club from being disbanded, each member brings in her own sorts of problems to prevent a strict and structured training. With things they call avant-garde or hard-to-understand, the audience is used to looking at them in a patterned way. On MyAnimeList you can learn more about their role in the anime and manga industry. Yet, within the context of manga periodicals, Garo was a novel institution. It gets distorted, and my work makes it look like I couldn’t care less. That becomes a backdoor to expressing yourself. If you let everything be free, then the anxieties disappear and you end up having nothing to draw. Garo must have published at least twenty such interviews in the late 60s and early 70s. He is slightly heavy and usually has a small kind smile on his face. At that point, you have to choose which side you’re on. Volleyball is a sport where you're always looking up! Sasaki: Taking a walk along a peaceful mountain path might be enjoyable, but it’s only when you suddenly get lost and nervous that you learn what you’re really made of. The Hour of the Ox (Ushi no toki mairi) is like that too [a Shinto ritual in which a scorned woman sets a curse upon her enemy]. Johnny returns from war having lost his limbs. Your email address will not be published. Hibiki Tsukahara - Amagami. Contemporary Manga Theory (Seirindō, November 1969), cover art by Akasegawa Genpei, a collection of essays by the members of Manga Shugi. Hayashi: Say one specific thing is illuminated and reflects light, creating all sorts of shadows. Who is a friend and who is an enemy, what is wrong and what is right, become very clear in an objective sense. Sasaki: Me too. (Laughs) In a song like Lieutenant Ogawa’s Song (Ogawa shōi no uta, 1898), there’s “the flowers of the cherry tree do not blossom, they fall without waiting for spring . But like now when everything is tangled up, you can’t tell friend from foe, what’s real or what’s fake, what’s the truth or just a put-on. Let’s criticize intellectuals. A couple of things to keep in mind. Like, “the pampas grass that doesn’t flower” [line from Boatman’s Ditty (Sentō kouta, 1921-23)]. (Laughs), Hayashi: Does that ever really happen? Sasaki: But it’s also boring if your expectations are met. [Translator’s note: Hayashi seems to be confusing Help! (Laughs) I’m not sure if I feel anything at all. We shouldn’t have to think about the nation or the family anymore, but as I try to grow there they are restricting me. Cathrine Deboucoillet - St. Luminous Mission High School. But in Overflowing Petals, they’re flowering, and then they fall, and then they become seeds. Tadashi Yamaguchi - SOma Saito. I really hate that. Hayashi: The “nation” (kokka) is written with characters for “country” and “household,” right? Assessing the paper retrospectively, writers could become breathless. There’s just numbers now. Hayashi Seiichi, Our Mother, Garo (April 1968), with the lyrics of Umi yukaba. I don’t know. Sasaki: But that’s what happens, one ends up trying to match things up. Hayashi: In my case, if you ask me why I make manga, it’s simply because there was something I wanted to draw so I drew it. His normal outfit consists of a long-sleeved and rather baggy white v-neck shirt with the border being black and the left sleeve rolled up so it isn't visible. ZERO along with Ambivalence are the featured opening and ending songs for … Even if they tell you to do such and such with a specific script, there’s still space where you can put in part of yourself. It was respected as a platform for sharp criticism and heated intellectual debates on cultural politics, counting amongst its contributors giants like Maruyama Masao, Takeuchi Yoshimi, Hanada Kiyoteru, Yoshimoto Ryūmei, and Oe Kenzaburō. I still wish they could find a way to keep that really dark energy going . (Laughs). At the end of “Flowering Harbour,” Hayashi cites one more song: “Longing for Your Shadow” (“Kage o shitaite”), regarded by many as enka ground zero. Carrera - Viper GTS. When we make statements, there’s a huge difference between us, that’s what I feel sometimes. It’s like folding a crane or folding origami in general, everything is folded into itself, nothing spreads outward. Karasuno High School vs. Shiratorizawa Academy High School Original Soundtrack. It occurs only in passing here, but Suzuki’s work, and his ability to incorporate striking and artistic effects into the straightened program of genre filmmaking, was a major inspiration for Hayashi, as it was for many creators and critics at the time. You can’t say that’s all that the four of them are, you can’t just take one group. Hayashi: In military songs, there’s Umi yukaba (If I Go Away to the Sea, 1937, a famous kamikaze song). It’s not that the song flows over everyone, but strikes each and every person to the heart, with a lot more energy than any war march. . Carmen '77-Wikipedia. (Laughs) What I was most happy about with this essay about my work in the Ritsumeikan University newspaper, when I really thought that the person had understood me, was when they wrote that the importance of Sasaki’s manga was that it succeeded in freeing itself from this cramped space where manga is understood within the confines of language. There’s no anchor that Kobe is tied to. Hayashi: I guess melodies are what survive. Hayashi: Well, you know this happens often. Ideas about urban planning are really interesting now, what they call the “megalopolis.” It's like they’re trying to take the country and design (dezain-ka) it as if it were a single castle. Your email address will not be published. Of the interviews published in the magazine, this is not one of the best. I want to make a movie, because I want to be able to cut and connect different segments of film. express something even when the entire thing is decided beforehand, that’s powerful. Even in making movies, no matter how hard the company tries to force you to do something, there are areas where they simply cannot invade. Living with the times, and becoming meaningless with the passage of time, that kind of manga is fine with me. After all, I am taking the trouble to ink my pages, publish them, and show them to readers. Beginning in 1968, Garo frequently printed long-format interviews between its artists, as well as with critics and creators in other fields. In Garo, the image of the cartoonist as an artistic bohemian trickled in through figures like Takita Yū, Tsuge Yoshiharu, and Nagashima Shinji, and then took a new form around the work of Abe Shin’ichi, Suzuki Ōji, and Furukawa Masanobu in the early 70s. Sure, there’s still music aficionados who think that what they do is good. You might try and attack the shadows, but it’s only an aspect of the actual thing. Ideal would be having one panel per page, then being able to shuffle them like cards. (Laughs). “Aside from the accounting, I did everything,” Takano told me when I interviewed him in 2012, from taking samples to the distributors and making space in the storage room when returns arrived, to selecting new work and composing the supplementary textual material. Members of the Gekiga Studio (especially Satō Masaaki) liked dressing up as hardboiled private eyes and Nikkatsu style gun-toting gangsters. K-ON!’s story revolves around five Japanese high school girls who join their school’s Light Music Club. Time passes and they drift away. Romaji and English translations are unofficial. 1940). My intention here was simply to give you a sense of how Takano’s presence introduced into Garo a way of production beyond Shirato’s or Nagai’s imagination. Readers of this article may also be interested in my “Anti-Manga: Sasaki Maki, Ishiko Junzō, and the Image,” in Anti-Museum: An Anthology, ed. While the enka versus Beatles segment marks the most obvious divergence of taste between Hayashi and Seiichi, it is important to remember their professional backgrounds. Norimi Kawaguchi - K-On! What’s happening now is not like what Miyazawa Kenji did, going into the countryside and making it shine. Garo was possibly a leader in this department as well. my body is penetrated by the beating waves, and becomes the seed of tears.” But when it comes to old songs, children’s songs (dōyō) are really amazing. (Song was used in trailer and ending only). I find that fascinating. Sasaki: Like you’ve been caught off guard. . But it’s precisely because the situation is not always like that, that is the reason why one wants to draw, why you want to express something. They will look at a panel that has no meaning and read something deep into it. Articles about the 1953 film Peter Pan, its sequel, the Disney Fairies franchise, and the TV series Jake and the Never Land Pirates. Join the online community, create your anime and manga list, read reviews, explore the forums, follow news, and so much more! This refashioning of what a cartoonist could be and what the tools of the cartoonist were represented a major step in the cultural legitimization of comics in Japan, and it had less to do with connoisseurs arguing for the artistic or “literary” merits of the medium than a proactive de-professionalization of the category “manga-ka” in line with the open-mindedness that the discourses of “intermedia” and “Pop” implied. A 60s feeling of living in the same age, I think that is increasingly expanding. Shirato Sanpei co-founded and funded the magazine in its first year, and to his influence (and that of his studio, Akame Pro) one can attribute the aggressive political commentary, the counter-pedagogical content, and the original modernist cover design, which was modeled upon that of Asahi Journal, a popular left-leaning weekly founded in 1959 and avidly read by intellectuals and students. SCREEN mode is a rock band singing the sixth ending song for the Kuroko no Basuke anime. But an artist (sakka) doesn’t want to have to go hunt for themselves inside material assigned to them by someone else. Even with TV commercials, sometimes you see things that are really striking. Because of you. People involved in the student movement in Tokyo, it’s not that their theories are the same as those of students in Europe, but a shared sensibility allows them to communicate with one another. So it [regional identity] doesn’t develop. Its headlines were like slogans of the campus festival and the placards of the student movement, casting a spell over leftwing students and literary youth, and achieving a circulation of close to 100,000 in its heyday, which was ten times what it claimed when it folded. Fairy Tail – Daphne; Fractale – Clain; Horizon in the Middle of Nowhere – Futayo Honda; Inazuma Eleven Go – Kirino Ranmaru; Kore wa Zombie Desu ka? They have to be sung as if one was isolated and helpless. That would be surprising. You showed your hand, and that wasn’t interesting at all. 18 (Seirindō, 1962), portrait of the Gekiga Studio artist as a gunman. That’s what his early works are like, anyway. But I have no problem with compromise. Sasaki: What a topic! Hayashi: Really? Original Soundtrack consists of two CDs that contain all soundtracks used in the anime series. Johnny returns from war having lost his limbs. I assume there’s no way anyone will get my work. If I didn’t, I don’t know why I would put the effort into creating manga. Hayashi: There’s a scene like this also in Help!, where the audience screams and “participates” in the scene. People steal away on ships from Korea. But you’d never know that just looking at what’s going on immediately around us. But what do we personally think about the nation and the family? The male has brown hair which is spiked up from the front a bit. That’s why I intentionally plant meaningless panels that look like they suggest something. 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