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In the end, whatever the fates decide

Whatever my fortune decrees

As long as I can be right by your side

I’ll be happy…

I love Gekkan Shoujo Nozaki-kun so much. I’ve made an amazing friend through it (you know who you are), and it never ceases to bring me joy and laughter whenever I’m not feeling great. So I was excited to make an English cover the absolutely beautiful ED, Ura Omote Fortune! I hope you all enjoy listening, and please give it a like and subscribe if you want to see more of my covers!

anonymous asked:

im SUCH a slut for vocaloid anD YOU CAN ASSOCIATE SO MANY SONGS WITH THE SQUIP like uh Ura Omote Lovers and We Should Not Do Bad Things and gghuhgh Miku Anamanaguchi AND LAST OF ME aNd fuckin Hibikase I HAVE MORE im jjust gonna list em off !! ifuudoudou/pomp and circumstance, B A C T E R I A L C O N T A M I N A T I O N

!!! fuck i love vocaloid!!! i know a bunch of vocaloid songs that fit jeremy and the squip’s influence on him but i can’t think of any that just for the squip

[DnA] Terajima-sensei's long interview summary

I translated this interview in Thai yesterday in my Thai blog, but I haven’t posted about it here yet…(Well, just a little part about that encounter scene…)

I can’t translate all of it because it will take a lot of time. (I spent around 5 hours+ just to translate into Thai orzll) So I’m terribly sorry. orzll

I took the interview from the Official Guidebook ~omote~ and I will skip the part I think it won’t necessary enough though.

Keep reading

flickr

黃 (Yellow) by Raymond Wang

At Omote-sando Station. Tokyo Metro Ginza Line, Tokyo. Canon EOS 1V with 50mm f/1.4 on Kodak Film Ektar 100 Model: theye @ Flickr

OMOTE / REAL-TIME FACE TRACKING & PROJECTION MAPPING

NOBUMICHI ASAI (PLANNER / PRODUCER / DIRECTOR / TECHNICAL DIRECTOR)
JIN HASEGAWA (CG DESIGNER - SPADE)
TAKASHI ISHIBASHI (CG DESIGNER - SPADE)
AYAKA MOTOYOSHI (PRODUCTION MANAGER -P.I.C.S.)
KOJI KOJIMA(PRODUCER)
AYA KUMAKURA (PRODUCTION MANAGER)
KAZUHIRO NAKAMURA (COLORIST - McRAY)
KENJI NAKAZONO (PHOTOGRAPHER - CREATIVE STUDIO WORKS)
KIMIHIRO MORIKAWA (PHOTOGRAPHER - SHOOTING & LIGHTING)
RHEA TOR’S INC.
DAN (STYLIST)
K.FURUMOTO (HAIR - &´S MANAGEMENT)
YUKA SEKIMIZU (MODEL - SATORU JAPAN)
SPICE (OPTITRACK MOTION CAPTURE SENSOR)
HIDEAKI TAKAHASHI (MUSIC - mjuc)
HIROSHI SATO (PROJECTOR INSTRUMENTS - AMSA)


2

Jewel Piece Box

Released: Jun. 5, 2016
Type: Prop
Game: Wario Land 4

Surprise! It’s another Wario model! For this one, I challenged myself to finish it in a single weekend by keeping it low-poly. The box is fairly basic, but the face on the front has more polygons than the entire rest of the model combined. I made all of the jewel colors, including the two different colors used by Golden Passage. Maybe it’s just me, but the lid reminds me a bit of a Pokémon Center.

Despite the fact that I mapped out Wario Land 4 in its entirety, I didn’t realize that the face on the chest is the Golden Diva until I was gathering references for the model. When I first started the game, I assumed it was some kind of generic smiling bald guy or something. While looking through the game’s tag after posting the Frog Switch, I learned that the Golden Diva’s mask is based on Noh theater masks, especially ko-omote and okame masks. The design of the eyes, lower lip, and hair are all derived from features of those real masks.

鳴狐 Nakigitsune

Nakigitsune is a uchigatana forged by Awataguchi Kuniyoshi, the master of Yoshimitsu, during the Kamakura period(13th century). He was unique during that period as uchigatanas were rare among the samurai class and still in developmental stage while tachis were the main weapon for cavalry warfare. Which is why he calls Kuniyoshi’s signature(銘) an exquisite mark as it is signed on the sashi-omote(差表)* side of the blade’s nakago(tail-end that goes into hilt), an indication of a uchigatana. While signatures on tachis are signed on the haki-omote(佩表)* side. Another precious point about the signature is that it bears the full name complete with the honorary title of Kuniyoshi( 左兵衛尉藤原国吉). His size is small for a uchigatana, closer to a wakizashi.

Nakigitsune is always together with his fox companion who speaks in place of him, as he is shy about talking to people. It is also an interesting play on Nakigitsune’s name, which means howling(鳴) fox(狐). Nakigitsune has never been used for battle. His resume consists of sitting in display at Akimoto’s family residence for hundreds of years and then continue to couch potato over at Tokyo National Museum. No wonder he is so shy with social interactions, since he has hardly ever stepped out into the human world, always observing from within the glass case.

I still can’t believe that Konami released a card that, in its first printing, was titled “After Genocide,” depicting a bunch of soldiers dead in a field. They didn’t change the name, they didn’t censor the art…they censor guns and provocative dress, yet somehow, SOMEHOW this got past.

Now I’m just wondering about some event organizer trolling Yuya by making him play with a deck of the most un-Yuya-like cards imagineable.

“Yeah, Yuya, use the Fiend Comedians!”

“But they look disturbing, I don’t feel comfortable with this…”

“Water Omotics then, show your opponents the power of hydromancy!”

“B-but she’s completely naked!”

“Fine, fine. Just use After Genocide then.”

“AFTER WHAT?!”

“It’s Just a card Yuya!”

“IT’S NEVER JUST A CARD!”

Hengaku or plaque for an Omote Senke tea room, of reishi fungus in a fan-like form carved on one side with the gilt lacquered characters for: Kakuju or Crane Good Fortune, the studio name: Sekigeido or Stone Art Hall, and on the reverse: Keiun or Auspicious Clouds of Peace. Late Edo – early Meiji era, circa 1850 – 1870.

Associated with the fungus of immortality, reishi represents long life. Kakuju echoes this, implying the fortunate longevity of cranes. The opening fan shape connotes auspicious beginnings.

insertimaginativenamehere  asked:

okay but I've been wondering this a while HOW THE FUCK IS YOUR URL SUPPOSED TO BE PRONOUNCED IT SHOULD BE EASY AND YET...AND YET. Also of you don't mind, what is the significance of it? Just intrigued (and trying to think of good Huey/Elmer prompts to shoot at you)

So the pronunciation is actually super easy to remember, it’s just toe-sheen-die! It’s Japanese for “life-sized,” hence my blog title.

The significance is (a) when I first started this blog and some rat bastard was camping on wallofillusion, I intended to be All Serious All The Time, and therefore this was gonna be like… a life-sized representation of me? and (b) also I was really into the song Ura-Omote Lovers at the time and that word appears in the chorus so uh here we are. Now it’s one of my names.

Mama se ničega ne plaši. Osim da ćeš mi porasti prije nego stignem da te dobro izgrlim i izljubim, i da ćeš mi iskliznuti iz ruku dok trepnem okom. Plašim se da se nećeš sjećati dana koje smo proveli zajedno, i da će ove naše godinice izbijediti kao stara hartija. Plašim se da će te sjutra neki strašni pubertet uzeti pod svoje i da će te biti teško voljeti, da ću zagledati to lice, tražeći nekakav trag onog ždrebeta što je jurcalo kroz kuću, skakalo po krevetu, smijalo se, nekada davno. Plašim se da ćeš mi prebaciti jednog dana sve one stvari koje kćerke inače prebacuju majkama, nezadovoljna svojim likom u ogledalu, nesrećna zbog svih onih nesreća koje, nekako, idu u paketu kad imaš petnaest, šesnaest godina. Da ćeš mrzjeti svoj nos i kriviti mene zbog toga jer su tvoj nos i moj nos isto. Plašim se da ćeš bježati od mene kao od kuge, da ćeš me se stidjeti, da više nećemo pričati ni grliti se kao sada, da nećeš utrčati u kuću, baciti ranac na pod i sva zadihana mi reći – znaš šta se danas desilo u školi? Plašim se da ćeš se kriti od mene, da ćeš me lagati, zatvarati se u sebe, da više neću biti drag gost u tvome svijetu, u tvojoj sobi. Treskaćeš vratima, govoriti jezikom koji ne razumijem, plakati za svaku sitnicu, tražiti svoja prava, odlaziti bez pozdrava, prkositi bez razloga. Strah me je da ćeš se promijeniti, da ćeš gurati svoje stvari pod krevet, moje srce pod tepih, ostavljati nered svud za sobom – prosute mrve, šolju s jogurtom, omote od žvaka.. Da ćeš se obilato koristiti mojom šminkom, oblačiti moje stvari bez pitanja, tjerati kontru, dokazivati da si valjda jača. Plašim se da ćeš se povući u sebe i da više neću umjeti da te nađem. Da ćeš prekidati vezu svaki put kad uđem u sobu pod izgovorom da nešto tražim. Tražiću tebe, a ti ćeš biti sve dalja! Onako kako sam ja svojoj majci bivala, a ona svojoj i tako redom.. Strah me je da ću pričati, a da me nećeš čuti. Da ćeš, meni u inat, raditi protiv sebe. Da će te na brzinu smotati neki pogrešan tip, mulac koji te ne zaslužuje, koji neće umjeti da voli svaku tvoju pjegu na licu i da ću zalud govoriti “nije za tebe, mila, možeš i bolje”. Plašim se da će te nešto boljeti, a da nećeš smjeti da mi kažeš. Plašim se da ćeš jednog dana ležati sama, u nekom tuđem mraku i da neće biti nikoga da upali svjetlo. Plašim se da ću, jedne sparne junske večeri u 22:02, zuriti u sat i pitati se što te još nema. Da će mi glavom proći sve one strašne slutnje na koje smo, mi, majke, pred bogom pretplaćene. Plašim se da ću te pozvati, tek koliko da znam da si dobro i da će mi uljudan ženski glas s druge strane reći da “birani korisnik trenutno nije dostupan”. Plašim se da neću biti uz tebe – kada ti bude najteže. Da me neće biti ni kada ti bude najljepše. Plašim se da ću ti, kako život bude odmicao, sve manje biti potrebna i da ćeš me zguliti sa sebe kao staru, osušenu kožu. Bojim se da će proći godine prije nego me ponovo pogledaš i u meni prepoznaš sebe. Pre nego što, listajući albume, primijetiš kako, gle čuda, na isti način sklanjamo kosu s čela, na isti način se smijemo, podižemo obrve, solimo supu, mrštimo kad nam nešto nije potaman i da će proći ledeno, kameno, bronzano doba prije nego što shvatiš da smo sličnije nego što možeš i želiš da veruješ. Plašim se da ćeš ličiti na mene. Da ćeš nositi ovu istu tvrdoglavu crtu, kao biljeg na čelu, da će te po tome poznavati i govoriti ti kako si “ista majka”. Plašim se da ćeš zbog toga neke škole skupo platiti, a lekcije učiti po više puta. Plašim se i da nećeš ličiti na mene. Da nećeš umjeti da grliš onako kako ja grlim. Da se raduješ životu onako kako se ja radujem. Da ćeš u želji da što dalje pobjegneš od mene, dosadne, naporne, posesivne majke – pobjeći i od sebe i da neću stići da ti kažem koliko te volim.
Eto, toga se mama plaši. I to, onako – baš baš.