Let’s get in the mood.

Initial D is a manga started in 1995 that ran until 2013, as well as an anime that began in 1998 and ended in 2014. It stars Takumi Fujiwara as a driving prodigy specializing in downhill runs and details his journey into the world of touge street racing. The series is a giant love letter to the AE86 as well as many late 80s/early and mid-90s Japanese sports cars. 

And like any successful manga/anime series, there have been plenty of games. It’s a formula that lends itself well in the right developers’ hands, and the quality of these games range from abysmal to terrific.

Keep reading


1972 Chevrolet Chevelle (NC) - $47,500

Exterior: Red/White Stripes
Interior: White
Transmission: Automatic
Engine: V-8
Mileage: 10,000

454 engine (1994) with 8500 miles with automatic transmission
Front disc brakes
10 year old Nut and bolt restoration
Rare convertible with AC
Electric convertible top
Air conditioner updated with new compressor less than 6 months old
Original Build sheet (started as a 350 SS)
Original Pro-tect-o- Plate
Original Manual and other paperwork
Original spare and jack
All works as should, except clock
New in-dash tachometer (not installed)
Rides and drives perfect and fast!
Buy a new one and see value drop, buy this and see it rise! This car is in great condition I have lots of photos and videos if interested feel free to text or call!

This vehicle is located in Blounts Creek NC 27814
Please call Hunter @ 252-943-4882 to see this Chevy

*continured from <2>*


+act. Magazine

Sato Takeru – Long Interview<3>

-As for the ‘choice’, which case happens oftener, choice between the two or among about ten different options?

Among ten different options. Rather than this or that, (describing a semicircle like a tachometer with his hands) I have an image that we choose the position in this amplitude. Of course sometimes we choose whether to feel delight or sorrow though. But if we choose to feel delight, how much? It’s another choice. We have such cases oftener.

-I got it clearly by your description using meter-like thing. You mean acting changes not by the choice between A or B, but by the delicate combination of the choices, right? By the way, you said in the ‘+act mini’, ‘The theme this time is to abandon myself’, didn’t you?


-Hey! Was it a sales talk?

Sales talk. (lol) Those words came out at the shooing site when we acted the pouty mouth in the first episode. So it was my theme for just that time.

-I see. (lol) But do you have the feeling that you try to abandon yourself, as if to make Sato Takeru disappear completely?

Not particularly.

-Does it mean that you disappear naturally in becoming the character?


-But isn’t it Sato Takeru that makes the choice?

No, it is not necessarily the case. Of course, in the first place, I make a choice, but Director sometimes say, ‘This would be better’, or ‘You had better make it a little easier to understand’. So you can say that, for actors, those who make a choice for them are very important. Actors are all tactful, so they can do almost anything if they are told to do it, I think. Meanwhile those who give instructions about what is the right choice or the sophisticated choice are valuable, especially in case of dramas. But it is, so to speak, a matter of taste. Some people like exaggerated expressions and others like simple expressions. There is no right answer. Since there is no right answer, I hope to work with someone whose sense I think I can trust.

-How long have you been aware of ‘choice’?

I wonder how long … but for quite a long time, I suppose. Many people say some actor’s performance is good or bad, but when, especially, their opinion is a negative one, I sometimes feel they could probably have done better if the director had directed him/her how to do it.

-You actors leave most of what is accepted as so-called impression to others, I think.

So I can do nothing by myself, especially in case of dramas. As for films, there is some possibility to brute-force your way. But dramas necessarily have more camera blocks, which means that we have to make more choices for each performance in the cut. Well, but there are a variety of ways and whatever way you take, it’s OK if the result is good. In short, the way we’ve been taking in ‘Tenno no Ryoriban’ now is like what I told you. ‘Ryoma-den’ is also a drama but we made it in a totally different way.

-To hear that, I think actors have to be flexible.

I said dramas are completely different from films, but even in the case of films, the method is different from film to film. As I often say, people say ‘actor’ is one kind of job but we’re doing such different things that you could even call our job by different names, I think.

-Since you have so many different ways, would you like to experience as many different ways as possible?

Well, I have a preference, of course, though.

-What is your preference?

I won’t tell you. (lol)

-Then if you could choose only your favorite way perfectly, would you like to do it forever?

Ah … but at the same time, the project is important, I think, so even if I don’t like their way, if the project is a good one, I’ll do it.

-What factors attract you as a project?

It depends on my feeling; whether I think it good or not.

-Isn’t it that you want to try something you’ve never done before?

Something I’ve never done will naturally attract me. I want to do what I’ve never done before than what I’ve done before.


Because human beings are easily bored, you know. Everybody is so. Human beings cannot keep doing the same thing forever, I think.

-Meanwhile, isn’t it scary to try something new?

Well, yes.

-Especially in the case of the job like this, one failure … I don’t know if it’s right to call it a failure, though … if people consider it a failure … would have a great influence, right?

Therefore, I make as much effort as possible so that I won’t fail. I won’t always choose to do something just because I’ve never done it before.

-Evaluation of a work should be comprehensive, but it is inevitable that it is attributed to actors for the most part, right?

That’s our job. (lol) But it naturally gets exciting, when it is an interesting project. An intriguing scenario or what I find exciting motivates me automatically.

-Does it happen that even if you start something feeling so, it turns out different from what you have expected?

Of course it happens. It’s impossible to tell ahead of time how it will turn out. But I’m trying to be careful to avoid it.

-You mean you won’t jump at the chance unless you can start to run with trust?

Right. It’s difficult to start to run with groundless trust.

-But even if you jump at a chance with trust, you can’t necessarily keep your motivation high. It can be discouraging simply to lack sleep, or to be exhausted … at least in my case (lol).

(lol) It happens to anyone. Only human.

-But in your case as an actor, if you don’t keep your motivation at a certain level, it will all come out, you know.

That’s right. It’s the most important thing, right? I remember I told you when talking about Kenshin, staying motivated is the most important … or the hardest rather than the most important.

-When we read it transcribed, we’re apt to read on without pause, just thinking, ‘Well, I know.’

Yup, so please write ‘It is really hard’. (lol) Really.

-Knowing that you’re working really hard to stay motivated, when I see you, you appear to have a stout heart like iron to me.


-You don’t show others, ‘I’m working frantically!’

That’s true.

-But you think you have something like soft and limp tofu in you, not like iron … right?

Yes, of course. (lol) Often.

-What do you with it?

When I get limp? Eat meals with my friends. (lol)

-Do you spit venom eating meals?

I do, I do. (lol) Definitely. Otherwise … it is a necessary skill to stay motivated, so to speak. It is impossible without doing so.

*to be continued to <4>*