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transboykirito · 1 year

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college squad au bc i think of this a lot

koujiro rinko, our main character. she starts off at 18 in season 1. programming nerd. gemma from m3gan. trying to find herself and figure out how adulting works. millennial (affectionate). she’s determined that college is going to be the best years of her life. the entire fandom universally agrees she’s bi and in love with her best friend mayumi who gets introduced in season 4. rinkoyumi vs kayarinko debates plauge twitter for months until her actress posts a tweet on june 1st saying she’s always considered rinko to be bi and wanted to play her with the intention of her crushing on mayumi. every gay person fucking loves her she has so many comfort character edits on tiktok.

kayaba akihiko, Just Some Guy Turned Main Love Interest. starts season 1 at 19. somehow everyone in the university knows who he is. he keeps to himself and has a foreboding mysterious sense about him. fans either headcanon him as bland and emotionless or secretly a massive softie who volunteers at animal shelters. math nerd. he usually ends up solving most of the bullshit the squad gets into. the amount of autism coding in this man.

sugou nobuyuki, fandom-nominted misunderstood soft dork (negative). never have you ever seen a character be misconstrued like this. starts season 1 at 18 but turns 19 like halfway through the season. he’s originally an english major but changes his degree in season 2. he is a dick but he’s good at hiding it therefore people think that he’s gonna be The Bad Boy Love Interest. he briefly is bc he and rinko start dating at the end of season 2 but she cheats on him with kayaba in season 3 (yay). his entire tiktok hashtag is either thirsty edits or people screaming at other fans for liking him. his actor likes tweets hating on him. after the finale he tweets a picture of himself on set flipping off the camera like “so long asshole i will never miss playing you” and then later he posts a picture of the whole cast and crew like “i lied i miss these guys already”

higa takeru, fan favourite smol bean. 18 but acts like a 14 year old boy. he is solely comedic relief for the most part. he’s hardcore crushing on rinko the entire series. he has a million dumb catchphrases. his Big Moment is when rinko breaks down crying in her dorm bc Boy Problems and he comforts her like “you deserve better anyway. do you wanna come sit on the roof and we can finish some beers and you can insult me again like you always do?” and she kinda laughs and follows him onto the roof and they sit there drinking and talking and he’s like “wouldn’t it be cool if we could make an entire world of ai’s?” and its this moment and its like the only time he’s serious

professor shigemura, george feeny 2.0. he sometimes drops major life advice in the middle of a lecture. he gets super invested in all his students and gives them advice and wants them all to change the world. very loving dad. yuuna makes a cameo a few times and fans adore her. any scenes with young yuuna are played by the professor’s actor’s irl daughter and it’s just super wholesome.

yuuki kouichirou, cameo character. he’s mentioned a few times in the first 2 seasons and makes a couple of cameos but fans love him and so he officially joins the cast in season 3, when he’s 19. he’s the sweet doting older brother who doubles as nobuyuki’s childhood friend. he’s never super plot relevant but he’s cute and sweet and people like him. he does a lot of fairy dance foreshadowing and his actor is like tom holland levels of accidental spoilers

#college squad au

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reverendclown · 10 months

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who would you want to voice the rest of Murcs core cast, both sub and dub ig? imo the core cast is like... Kuroko, Hinako, Rinko, Chiyo and maybe Aiko and Narumi.

I’d say

Kuroko - Romi Park

Hinako - Mayumi Shintani

Rinko - Rie Takahashi

Chiyo - Sayaka Senbogi

Aiko - Miyuki Sawashiro

Narumi - Fairouz Ai

For English Dub that’d probably be impossible to think to me but whoever they pick will probably be good to me hopefully

#murcielago manga

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ofsteelandstardust · 5 years

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headcanons regarding akira & family!

HIS BIRTH PARENTS (tw: child abuse, parent death, drowning, cigarette burns, EDS, narcolepsy)

He utterly despises his brith father, Masaru Emoto. He would work all day then come home and demand that Akira and his wife wait on him hand and foot. When they did as he demanded, their obedience was neither rewarded or appreciated. But when they didn’t comply, their lives were utter hell. Akira’s birth mom, Rinko Emoto, was heavily finically dependent on Masaru due to her having multiple health issues that rendered her unable to work. Specifically, his birth mom had EDS, narcolepsy and COPD.

Akira loves his brith mom, but hates how she never stood up for herself. He often took up that role, resulting in him getting punished by his father. Because of his father he has cigarette burns on his back and scattered scars on his back due to having a glass cup thrown at him. His birth mother also has similar scars due to trying to protect him in turn.

With the help of his adoptive parents Yumi Mori & Ayaka Nakamura, his father was arrested for child abuse, domestic violence, domestic violence in the presence of a child and blackmailing. Due to the overwhelming evidence against him and the fact that all of this had gone on for years, he was given a life sentence.

Akira’s brith mom and him lived with his adoptive moms and adoptive sister for a year when his mom passed after falling asleep in the bathtub. Shortly after her death is when Akira’s birth mom’s officially adopted him.

HIS ADOPTIVE FAMILY

His mom Yumi Mori is a regular uniformed police officer and Ayaka Nakamura is a detective. The two, who secretly help vigilantes, help Akira learn about and control his powers. His adoptive sister, Keiko Mori, is a friend of from school, with the two of them both singing in their school’s choir group. Akira loves the three of them SO MUCH and never feels the need to add the descriptor of “adoptive” family. He just calls them family.

In his DC verse (which has become his main verse, ngl) Keiko is super busy due to working for interpol. She occasionally and secretly has Akira help her with interpol related missions.

LOOK UNDER THE CUT TO SEE FACECLAIMS FOR HIS FAMILY!

Masaru Emoto - fc: Takuya Kimura

Rinko Emoto - fc: Yukie Nakama

Yumi Mori - fc; Mayumi Yoshida

Ayaka Nakamura - fc: Koyuki

Keiko Mori - fc: Mei Nagano

#muse: AKIRA #muse: echo / akira #long post #see tags in headings for trigger warnings.#akira headcanon post

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alexthegamingboy · 5 years

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Toonami Weekly Recap 3/9/2019

Sword Art Online: Alicization EP#05 - Ocean Turtle: After being poisoned by Johnny Black, Kirito is taken to a hospital. After treating him, the doctors inform Asuna and Kirito's family that he is stable, but unconscious, and it's unknown when, or if he will ever wake up. Kikuoka then approaches them, offering to transfer Kirito to a better facility, but when Asuna and Suguha pay a visit to him there, they are denied from seeing him. With help from Yui and the rest of her friends, Asuna tracks down Kirito all the way to the port, and discovers that he must be taken to somewhere abroad. Once learning that the Soul Translator was a technology developed by Akihiko Kayaba, Asuna contacts Rinko Koujiro, Kayaba's former lover and co-researcher. Some time later, accompained by her secretary, Mayumi Reynolds, Rinko is taken to the "Ocean Turtle", an offshore research facility where he is welcomed by Kikuoka. In the occasion, Mayumi, revealing herself as Asuna in disguise, asks Kikuoka where Kirito is.

Megalo Box EP#11 - A Deadmarch: Fujimaki's men escort Nanbu to the arena where Joe is slated to fight Glen Burroughs in their semifinal match. Meanwhile, Sachio refuses to go see the fight, thinking Joe and Nanbu both abandoned him for a rigged match. Nanbu is shown to the luxury suite where Fujimaki watches the fight, as Joe appears by himself in the ring, wearing his old Gear after a visit to his old mechanic friend. Nanbu instructs Joe to take a dive in the third round, while Fujimaki keeps a close eye on Nanbu, chiding him for acting like a real coach even though he's about to make him throw the fight. Nanbu hopes that this act will repay their debt, but Fujimaki states that Joe will be under his heel forever. As Joe gets pummeled in the corner, Nanbu tries to encourage Joe to continue fighting while his Gear falls off and he hits the mat. Suddenly Sachio appears ringside, yelling at Joe not to give up. Joe gets off the mat and manages to beat Burroughs with a counterpunch, knocking him out. Meanwhile, Nanbu begins to brawl against Fujimaki's men in the suite. As one of them points a gun at him, Nanbu grabs a knife. Meanwhile, Joe and Sachio are celebrating their victory, and then race to the suite where Nanbu has stabbed his remaining eye out as payment to Fujimaki. Impressed at the spectacle, Fujimaki decides to let the three go.

JoJo’s Bizarre Adventure: Diamond is Unbreakable EP#26 - Janken Boy Is Coming!: Yoshihiro decides to use the arrow to make more Stand-wielding allies, first using it on a boy named Ken Oyanagi. Ken then pesters Rohan to play Janken with him, losing his first match after Rohan uses Heaven's Door to figure out his move. As Ken continues to force Rohan to play Janken with him and manages to win his third match against him, his Stand, Boy II Man, appears and tries to suck in Heaven's Door. Rohan soon learns that Ken's Stand allows him to steal energy from others and keep it if he wins three times out of five, discovering that he has already gained a third of Heaven's Door's ability. Ken then wins the fourth match, gaining more of Heaven's Door's ability and evening the score. After holding on with a pair of ties, Rohan manages to win his third match and retrieve Heaven's Door after borrowing Shizuka the invisible baby from Joseph and having her change what Ken attempted to throw out. Ken attempts to kill himself by jumping in front of a truck, but Rohan manages to use his own brand of luck to save him, convincing Ken to stop using his Stand for evil.

My Hero Academia: Forest Training Camp Arc EP#40 - Wild, Wild Pussycats: On the day of the forest lodge trip, Class 1-A and 1-B prepare to board buses. An hour later, Class 1-A's bus stops for a restroom break. Suddenly, two women wearing cat-like costumes and a small boy appear. The women introduce themselves as the professional Hero Team, The Pussycats, while the boy is revealed to be Kota, an orphan in their care who despises heroes. Mandalay tells class 1-A that they must reach the training camp at the base of the mountain by midday or they will miss lunch. Despite their best efforts, class 1-A's progress is inhibited by earthen beasts throughout the forest, controlled by Pixie-Bob with her Quirk, and the students miss their deadline by hours. However, team Pussycats is satisfied with their performances, and they are offered dinner instead. Afterwards, Class 1-A go to the hot springs for a bath. Mineta tries to peek at the girls' bath side but is prevented by Kota; Kota accidentally sees the girls and faints, but is saved by Izuku. Izuku brings the unconscious Kota to the cabin and learns the story of his parents; pro heroes who died in the line of duty.

Black Clover: Witches’ Forest Arc EP#60 - Defectors' Atonement: Fanzell confronts Mars and Ladros, who reveal they seek the Witch Queen to cure the Diamond King of a terminal illness. Fanzell, Mariella and Dominante join forces with the other mages to fight the Diamond army. Fanzell tries fighting Ladros, but Ladros reveals his surgically modified body can absorb other people's magic. He uses Fanzell’s wind magic to destroy part of the forest, killing many witches and even his own soldiers. Fanzell is injured keeping Dominante safe. Ladros rejects Fanzell’s belief that magic should be used to protect others and tries killing Dominante; however, she is rescued by Mars, who has changed since his earlier defeat and has decided to continue to follow Fanzell’s teachings. Mariella injures Ladros, but he absorbs her ice magic and Mars’ crystal magic. Mars explains they can defeat Ladros with anti-magic. He and Fanzell throw Ladros in Asta's direction. Asta pleads with Fana to surrender so she can return to her family and friends but is unsuccessful.

Hunter x Hunter: The Chimera Ant Arc EP#133 - Deadline × To × Live: Ikalgo and Palm send Welfin back with a message to the king asking for a hostage exchange. On the way, Welfin meets Youpi and decides to fight him. Meanwhile, Meruem's memories return little by little and while Pouf gets desperate upon finding a dead Youpi, Palm and Ikalgo hide Komugi in a safe place as part of their plan to stall the Chimera Ants as long as possible because according to Palm, the king has not much time left to live.

#Toonami #Toonami Weekly Recap #Recap #Spoilers #Sword Art Online #Sword Art Online: Alicization #Megalo Box #JoJo's Bizarre Adventure #JoJo's Bizarre Adventure: Diamond is Unbreakable #My Hero Academia #Forest Training Camp #Black Clover #Witches' Forest #Hunter x Hunter #The Chimera Ant Arc #Anime

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garlands-jpn · 7 years

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mayumi rinko

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klphotoawards · 7 years

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POSITIIV 27 Magazine - The world beyond your backyard: a comparison of Asian and European photography ~ Annika Haas

There is no doubt that photography has immensely expanded our visual perception. Although photos can bring the entire world to our home, it is still not the same as immediate experience. It is always good to meet real people, hear and see their unfiltered thoughts, admire the amazing multitude of ideas and visions, and find common features or experience something entirely new and different from our former perception. This applies regardless of the contemporary facilities available, especially if you are interested in learning about the trends of modern photography and the tendencies prevailing in its imagery and focus in different continents.

In the summer of 2016, I participated as a finalist in the exhibition of the international portrait photo competition “Kuala Lumpur International Photo Awards 2016” (KLPA 2016) in the Malaysian capital. The competition has been held for eight years by now. This venture, started by its head organiser Steven Lee, represents a good example of mutual influence and interaction of different photography schools around the world, based on a simple logic: every new artistic expression in photography develops in specific historical conditions, stemming from current reflections of a global mind. Nowadays, the influence seems to feature a rather west to east orientation, but it is not limited to that. In this article, I will focus on the comparison of mutual relationship between Asian and Western world in photography.

According to Steven Lee, KLPA came to life by the example of the Taylor Wessing Photographic Portrait Prize, the most prestigious portrait photography competition in the world, organised by the National Portrait Gallery in London. He says, “There was absolutely no meaningful approach to portrait photography in Malaysia; there were no opportunities to learn the specifcs of this genre. I remember that in the first year of KLPA, majority of the 500 works entered to the competition were so-called beauty pictures with virtually no story-telling focus. Local photography schools focused more on the technical aspects; technical quality prevailed over content. But year-by-year we began to receive conceptual portraits by local Asian photographers, because they had seen the successes of the European school of photography, the key of which consists in focusing on the meaning of portrait photography.”

Despite being one of the most important international competitions of portrait photography in Asia (its number of participants has tripled), the best works of KLPA in 2016 still consist of photos by authors from Europe, USA or Australia. All strong Asian photographers who have succeeded in the competition have global experience. Perhaps our own local artists interested in taking their creations beyond Estonian borders should make their own conclusions from that.

Kathrin Tschirner #14-09-03 Frau VII

Kathrin Tschirner, Germany

Before coming to Kuala Lumpur, German photographer Kathrin Tschirner, the winner of KLPA 2016 in the category “Stillness and Distance”, thought of Rinko Kawauchi from Japan as the best example of modern Asian photography. “I love her photographic images and their clear yet amazing and poetic language. I could look at them for hours and always find new angles. Perhaps this is because several cultural codes in these photographs are not self-evident for me, but this makes the images even stronger, more mystical and attractive. I experienced that feeling again at the Japanese photo exhibition (Focus Japan) of KLPA 2016. It seems that the photography in Asia operates by using symbols galore. Artists dare to work on alienation and find multiple layers between art and reportage,” she explains.

Here, Kathrin refers to a book by Mayumi Suzuki, in which the artist speaks of losing her parents in the tsunami in Japan. “It is executed beautifully: the photographer works with several narrative elements, plays with text and images, paying attention to different texture, material, colours and visual language. It seems to me that Europe lacks such detailed and experimental courage in the use and execution of photos. The West is more likely characterised by the fear of losing enshrined principles.”

As one of the winners of KLPA 2016, Tschirner does not refer to herself as a portrait photographer, although she often uses the concept of that particular genre in her work, expanding the definition of portrait photography as she sees fit. She needs human perception in order to delineate something very personal, and she moves in areas that she finds intriguing. Thus, the winning photo belongs to the series on a region in Berlin that has been an active centre of prostitution for the last 130 years. Working as a volunteer in the counselling centre for sex workers enabled the photographer to have a deeper insight in the life of these women. “Walking with them opened new perspectives of this area and my photos revealed new layers. My motifs softened and I removed needlessly loud photographs from the series. I wanted the viewer to feel the message without being too detailed and straightforward. These photos are like puzzle pieces, fragments of the concept of reality.”

Mayumi Suzuki, Japan

Above-mentioned Japanese photo artist Mayumi Suzuki remains modest when describing her photography in the context of her experience of KLPA 2016. “I think that the difference between Asian and Western photography comes from different approaches to photographic education. In Japan, there is not much discussion regarding conceptuality and context, resulting in insincerity of the majority of works. Winning European artists have powerful works built on stories with social, historical, cultural or artistic backgrounds. They have excellent story-telling skills.”

Mayumi Suzuki. The Restoration Will. In progress (2016).

Mayumi points out a new trend in Japan – compilation of photographic biographies (cf. the works of Estonian art publisher Lugemik (“Textbook”)) that act as a general portrait of the artist. Such books are compiled as an installation of experienced perceptions, and this is truly powerful. When looking at the works created by Mayumi, the viewer sees the light from stars that no longer exist ‒ beautiful, warm, and painfully tender. “Engagement in the process of creating that book was the key to my inner healing,” resumes the Japanese photographer.

Alia Ali, Yemen-Bosnia-North America

One of the most cosmopolitan photo artists I met in Kuala Lumpur was Alia Ali. She does not easily compare different photography practices from geographic aspects. “For someone, who is simultaneously Asian, European and North-American, and lives in Africa (Alia has roots in Yemen, Bosnia and America), it is annoyingly complicated to answer the question about geographical distribution of ideas. In fact, my entire collection of works contests the existence of borders. Many artists of Asian origin have lived in Europe and North America, and then returned to their homeland. Why should we categorise the origin of ideas of these people in any way. They are just their ideas, their eyes, and their vision. I would rather focus that question on the individuality of every photographer.”

Alia Ali. Dots II. Cast No Evil. New Orleans, USA. 2016

Alia Ali. Semen I.People of Pattern. Yogyakarta, Java, Indonesia. 2016

In Alia’s interpretation, the division of global photography trends is based more on style and theme. At the same time, she frequently points out the dangers in following visual trends in photography. Photographers should find their own “eye”. However, themes are still crucial. “I think that photographers should bring their creation to public discussions, and also communicate with each other. Discussion of topical issues often remains too verbal. Inaccurate use of words and resulting ambiguity may instead cause misunderstandings in various communities. Acute topics that the photography should address include migration, Islam, identity, disappearing gender concept, climate change and its impact, etc.”

When analysing the works by Alia Ali, her heritage seems to play an important role: both Yugoslavia and South-Yemen no longer exist. After struggling with that on various levels, she decided to exit the polarity and define herself through her photos. Marcel Duchamp has introduced a French term inframince, which suits well to describe Alia’s identity. This term signifies concepts that are impossible to define, but can be illustrated by descriptive examples – “I know it, because I see it”. Thus, Alia’s identity is that of a photo artist and her projects stem from inframince.

Her ongoing photo projects (e.g. Cast No Evil) often focus on the sincerity of the motives behind our daily activities. At the exhibition, the viewers feel forced to confront themselves and ask inconvenient questions. Fabrics are something that we all know and use on a daily basis, but in Alia’s works, they represent a more far-reaching symbol, denoting “fabricated” borders we built to isolate ourselves either on individual or social level. The ambiguity of the project manifests already in the title of the series “People of Patterns”, fragments of which were also included among the awarded photos of KLPA 2016. As her work covers seven different countries, she concludes that although we are all similar in terms of needs and self-realisation at birth, we still remain different in terms of reaching satisfaction. Without giving any answers, Alia rather helps the individuals to relate to themselves.

Heiko Tiemann, Germany

One of the most striking exhibitions by European artists participating in KLPA 2016 was that of German photographer Heiko Tiemann. Exhibition contained photos from series Infliction, portraying boys and girls at a school for children with special needs, suffering from traumatic disorders, complicated social background, or raised in an orphanage.

Heiko Tiemann. Infliction

In Malaysia, Heiko was fascinated by photography focussing on the aspects of people’s internal life, and these aspects clearly feature in his own work. He is a sensitive photographer, whose photos do not seem to be taken by a man (yes – stereotypes may occasionally mislead the author as well).

“I believe that the Asian photographers’ skill to probe the depths of human nature originates from the photos by Eikoh Hosoe and films by Akira Kurosawa,” says Tiemann. “The works of these authors feature a fragile connection between internal processes and external epiphanies. European photography is sometimes limited to visible aspect without perception. I think that this stems from the Europeans’ overall scepticism towards emotions and representation in art. Many photographers tend to have detached, at times even ironic approach. It may work, but in photography it represents the easy way out.”

Heiko considers himself more of a chronicler, observer of daily life, constantly taking mental photos without camera. His long-term projects are not products of rational process; they grow together into a whole over time.

Eiffel Chong and Nadirah Zakariya, Malaysia

Malaysian photo artists Eiffel Chong and Nadirah Zakariya have also participated in previous KLPA competitions. They have said that in their homeland, photography as an autonomous art discipline is still a very young area of self-expression. Thus, it is not surprising that they both obtained education in photography outside Malaysia and refer to that experience as an important aspect in their development. Eiffel Chong studied in London (London College of Printing) and Nadirah Zakariya in New York (Fashion Institute of Technology). Eiffel even mentioned that in his homeland, photographers had to look up to the western photographers for a long time, because European photography has had the greatest impact on the developing Malaysian photo community.

Eiffel Chong Pearl River Estuary. Seascape. 2016

“For me, taking pictures serves as a means of communication, an opportunity to visualise my thoughts. the things I choose to express through photos are very personal.” Chong has primarily studied the subjects of identity and existentialism. For example, he staged an entire series of works based on the idea how people create customary masks and how allegedly protective mask actually exposes their vulnerability and weakness instead of hiding it.

Nadirah Zakariya. Girlhood. 2016

Nadirah Zakariya is a good example of a modern, multicultural creative spirit. She provided a laconic description of her photographic style: raw or unprocessed, emotional and personal. In her most recent art project, she uses photography to disclose the secrets of sisterhood (Girlhood), studies tight connection between sisters and the spirit they share. A seemingly simple topic has been visualised to shape dreams, hope, fear, layers of various feelings, elevating the magic between women. Nadirah boldly crosses standards and often embeds contradicting content and form elements in her photos. The artist’s inner freedom to experiment has paid of.

In an attempt to sum up my meetings and experiences during the events of KLPA 2016, I can say that all the abovementioned artists have peaked in their strength, visibility and unique approaches to photography thanks to their companions and openness towards the world. I call it ‘indivisual’ – individual visual – because such pun seems rather appropriate and accurate in this case.

The world has become more open for Estonian photographers, too. For years, many of my colleagues have cooperated with foreign photo agencies, shown their exhibitions abroad and introduced local photo art in recognised international galleries. They have reached their current positions not just because of their high-quality and original creative baggage, they are also open and receptive, ready to make contact and communicate with other artists around the world, and they have learned to see other things besides their own work.

I truly wish that our fragmented photo communities would become more open to communicate with each other and curious to see beyond their own noses. There are no limits if we do not limit ourselves. ~ Annika Haas, POSITIIV 27, 2016.

Alia Ali, Yemen-Bosnia-North America, www.alia-ali.com

Eiffel Chong, Malaysia, www.eiffelchong.com

Heiko Tiemann, Germany, www.heikotiemann.de

Kathrin Tschirner, Germany, www.kathrin-tschirner.com

Mayumi Suzuki, Japan, www.mayumi-suzuki.com

Nadirah Zakariya, Malaysia, www.nadirahzakariya.com

Steven Lee, Malaysia, www.stevenleephotography.com

POSITIIV is a photography magazine published in Estonia

Annika Haas, writer for Documentary & Portrait Photography

www.positiiv.ee

#POSITIIV #klpa2016 #annika haas #eiffel chong #nadirahzakariya #Mayumi Suzuki #alia ali #heiko tiemann #kathrin tschirner #Steven VL Lee

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recentanimenews · 6 years

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Sword Art Online: Alicization – 05 – Returning the Favor

After spending four episodes in the Underworld with Kirito, we finally return to the real world, picking up right where we left it, when Kazuto got injected while protecting Asuna.

Asuna meets Suguha and Kazuto’s mother at the hospital, where they’re informed that he may never regain consciousness after suffering untold damage when his heart was stopped for five minutes.

Then everyone’s favorite morally ambiguous suit Kikuoka Seijirou shows up, telling Kaz’s family that there’s only one place that can treat him properly.

They concur, and Kazuto is transferred to another facility, but when Asuna and Suguha try to visit him the same evening, they aren’t allowed. Further, Asuna’s monitor of Kaz’s heart rate is out of range; he’s just gone, and so is Kikuoka.

Asuna and Suguha meet with their friends in ALO to bring them up to speed, and with help from Yui they begin to assess the places he’s been and the places he could be now. The group splits up, with Klein driving Asuna and Suguha to a nondescript warehouse and helipad…but there’s no Kazuto, at least not anymore.

Apparently at a dead end, Yui tells “Mama” Asuna not to give up, as “Papa” Kirito never gave up looking for Asuna in ALfheim. Agreeing, Asuna asks Suguha if she remembers anything her bro said about his job; she remembers that the machine he used was based on the Medicuboid, designed by Kayaba Akihiro, AKA Heathcliff, inventor of NerveGear and Game Master of SAO.

Asuna recalls someone watched over Kayaba while he was diving, then recalls her name: Koujirou Rinko. Yui finds Rinko at a lab in California. She, along with Kayaba, was a member of the Shigemura Lab, which developed the Augma headset. It stands to reason she might know about STL and Kazuto’s wherabouts, so Asuna sends her an email.

Turns out Dr. Koujirou Rinko has already been hounded by Kikuoka to join him on a new project, and so she travels to his location via helicopter, which turns out to be a Totally Awesome Top Secret Floating Base called “Ocean Turtle.” Rinko is accompanied by her blonde English-speaking, somewhat shifty assistant Mayumi Reynolds.

After going through a veritable gauntlet of security checkpoints, Rinko and Mayumi enter a command room that oversees the Underworld Kirito is currently living in. It would seem to be an actual physical environment, which explains why those crossing its boundaries into the “Land of Darkness” are so harshly punished.

In the control room they meet Kikuoka, donning yukata and geta as if he were at a seaside retreat. That’s when Rinko reveals why she finally agreed to come: her assistant “Mayumi” is really Asuna in disguise. When Rinko heard from Asuna that Kazuto—whom she met following the death of her lover Kayaba, and who chose not to destroy the World Seed—she decided she’d help Asuna any way she can.

And so now Asuna has managed to slip by a number of layers of carefully laid security and is in the very heart of Rath’s operation. And she’s PISSED. She wants to know where Kirito is, pronto. Considering everything she’s been through thus far, including one would hope Kikuoka would be amenable to her request. Now things are starting to get interesting.

By: braverade

#Anime #News #RABUJOI – An Anime Blog

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