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braveandsnipe · 2 months

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BoonBoonger Information

Most of this info comes from TV Asahi's website. I did my best with translations.

edit: i fixed boonblack's name. sorry i can't read

Cast

Red– Haruhi Uichi

Blue– Yuki Hayama (prev. Okamoto)

Pink– Miu Suzuki

Black– Ryu Saito

Orange– Satoru Souma

while none of these actors have been in a previous toku series, 3/5 of them have been in productions concerning the story of "cinderella".

suzuki also guest starred in a drama which starred rin takanashi (shinken pink) and had ukyo matsumoto (kamen rider snipe) as a support character. this is relevent because i watched this drama, and enjoyed it a lot

Characters

BoonRed– Taiya Handou

He is a master of development and modification. He works as a "delivery man" with the cars he builds. When he likes a person or a thing, he says, "I love it!" or "I bought it!" He has the ability to see things for what they really are, and he has a strong competitive instinct that leads him to make quick judgments. Even if there is a risk, he says, "Isn't it better to take the risk?" He is the type of person who enjoys taking risks in a positive manner. He is adept at using both rods and guns, and is good at creative fighting according to the situation.

BoonBlue– Ishirou Meita

An "informant", a master of information gathering. Usually a freelance spy. He always considers risks and makes calm decisions. He is meticulous and cynical. He fights alongside Taiya as if it were a "job he had contracted". He has excellent, dynamic vision and is good at precise movements. When he uses a gun, he is a one-hit wonder.

BoonPink– Mira Shifuto

A "driver", an expert in driving and maneuvering. She usually works part-time at various stores. Her pedal work technique is so good that both Taiya and Ishirou are amazed. She is a mood-maker and a troublemaker. After meeting Taiya, she began to show her true core strength. She fights intuitively with his unique sensibility.

BoobBlack– Jou Akuse

He is a "police man", a rookie cop who is passionate about justice. He usually patrols the town on his bicycle as a uniformed police officer. He is a serious and aggressive person. He is more hard than soft. He is confident in his physical strength. He mainly likes to use the rod mode of the Boom Boom Change Axe.

BoonOrange– Kenba Bureki

A "procurer," a master of procurement. He is a man who can be relied on to procure what he needs from anywhere. He has a gentle and soft manner. He is elusive and never shows his true feelings. He is more soft than hard. He is good at fighting by taking advantage of his opponent's movements. He mainly uses the Axe Mode of the Boom Boom Change Axe.

Friends of Boonboomger

Boondeals Boondrio (?) – Also known as "Boom Boom"

A car-shaped alien who fell to earth after being wounded. It resides in the garage of Taiya's secret base at his home, and usually lives in humanoid or human-sized form.

When in human form, he wears a self-made sun visor on his head. He is a first-rate mechanic, and he and Taiya, who likes to tinker with machines, get along well and consider each other to be best friends. He is also good at housework, and for some reason often makes curry.

Boonboomger's set of equipment was made with the help of Boomboom and Taiya. Taiya and his friends call themselves "Boonboomgers," meaning "Boonboom and his warriors. They monitor Boonboomger's battles from Taiya's garage and sometimes support him remotely.

Boonboom can grow to a giant size. The power is drawn out when the Boonboomger rides on it. It can combo with various Boonboomgers and fight huge enemies as a Boonboomger robot.

Voiced by Rica Matsumoto

Great Space Invasion Dairikurikidan Hashiriyan (Villians)

The unborn of the universe. They attack people in order to collect the human scream energy Gasoline ("Gyasolin").

Deco Trade ("Dekotarade") – (left), Has dreams of moving up the ranks. One of 3 idiotic site supervisors who causes trouble every time. Voiced by Junichi Sawabe (who has been in previous Toku Productions)

Itasha – (right), Has dreams of moving up the ranks. One of 3 idiotic site supervisors who causes trouble every time. Voiced by Nana Mizuki (Was in Super Hero Taisen Z)

Yaruka Yai Yai – Has dreams of moving up the ranks. One of 3 idiotic site supervisors who causes trouble every time. Sometimes becomes a car. Voiced by Sumire Moroshi.

Trailer and Music

Via @/DailyBoonBoom on Twitter

Trailer

Opening Theme

The ED is titled "Konkotsu Pon Pon" by Rica Matsumoto and there will be a dance ver for it. [src]

#super sentai #bakuage sentai boonboomger #boonboomger #we're staying at the lotus inn #boonboomger spoilers

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porunareff · 2 years

Photo

Artwork for Japan Expo 2022 by Junichi Hayama

#JoJo's Bizarre Adventure #Jojo no Kimyou na Bouken #Jotaro Kujo #jojo #jjba #Jean Pierre Polnareff #Stardust Crusaders #jojo crew fanart

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createrebels · 4 months

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Title: Be There

Prompt: Childhood, Pocket Watch, Vampirism, Seaside, Devotion, Modern AU, Scars, Danger, Candlelight, Write favourite art

Rating: Teen And Up Audiences

Summary:

1. Phantom Manga (Prompt: Childhood):

In 1989, Miss Pendleton went with her adopted grandson Dio to England and met Mister Joestar's son, Jonathan. The twelve year old Jonathan and Dio were drama club actors reading JoJo manga.

2. And The Time Stops (Prompt: Pocket Watch):

Jonathan gave Dio his pocket watch. Then, Dio went back to Morioh his home. Then, the awarding ceremony arrived.

3. Distant Dreamer (Prompt: Vampirism):

Dio dreamt about the other DIO obsessing over Jonathan and the origin of JoJo manga.

4. Heaven on the Seashore (Prompts: Seaside, Devotion, Modern AU):

Jonathan and Dio became adult college classmates in Morioh and challenged each other in becoming the best actor. For the club, they went to a Paradis Island.

5. Cycle of Hate and Love (Prompt: Scars, Danger):

Jonathan calmed dreaming Dio and they explored. Then, they prepared for their first acting performance together.

6. Raise the Curtains (Prompt: Candlelight):

After Jonathan and Dio's play, a certain vampire appeared.

7. End or Loop (Prompt: Write favourite art):

Those from the previous reset and the new reset met each other.

Word count: 8100

Warnings/Tags: Alternate Universe - Modern Setting, Acting, Childhood, Dubious Consent, Anxiety Attacks, Nightmares, Necrophilia, Referenced Alcoholism, Referenced Abuse, Destruction, Violence, Nudity, Language, Blood Drinking, Cheating, Shingeki no Kyojin | Attack on Titan References, Steins;Gate References

AO3 Link: https://archiveofourown.org/works/52198456

————read more—————

Wattpad Link: https://www.wattpad.com/story/357329772

Illustrator: Junichi Hayama

#djdweek2023 #djdweek #jonadioweek #jonadio #diojona

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advestager · 4 months

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Not that anon who sent you the ask about Jotavdol before but my favorite 'fanwork' of them comes from the OVA character designer himself Junichi Hayama. A lot of people repost his art of Avdol lighting Jotaro's cigarette for him, but not a lot of people include his little dialogue exchange to go along with it.

「いつもすまねぇな」

「キミは未成年だろ？」

「細かいこと言ってるとハゲるぜ」

Which I roughly translate as

Jotaro: Sorry about this [not having a lighter]

Avdol: Aren't you too young to smoke?

Jotaro: If you keep worrying about all the details, your hair will fall out.

It's such a warm and affectionate piece of art, I think about it all the time, and I love the way it fits in like a missing scene for the OVA where Avdol also lights his cigarette for him

my beloved anon 2: electric bogaloo, i want you to know the conversation tidbit is ENTIRELY new information to me and i got punched in the feelings by it like the fist of a fluffy vengeful god (so basically star platinum or something) so hard i had to put my phone down for a second and go HHHHHHHHH into my hands like an absolute FOOL

that is SO like the dynamic i picture for them i'm just sitting here making hysterical teakettle noises and gjzkkfkr GODDDDD. i can't keep my cool i CAN'T i haven't been trained for this!!!! i'm gonna go print that art on a cake and EAT it or something. junichi hayama and i are sworn brothers now and i'm mailing him my firstborn as soon as i procure one

(you of course are getting the secondborn for opening my eyes to this new and wonderful world i wasn't aware of where someone other than me and og anon wants to see the boys interact

(or possibly more??? question mark???? HAYAMA-SENSEI I'M OUTSIDE AND I NEED ANSWERS))

god i do love that even without seeing the art itself you can just sense the affection and camaraderie between them. at this point my shipping goggles don't even need to be involved, i'm just glad to be here. that kinda dialogue feels super fitting for them, too, especially considering the end of the jail scene where avdol just Stops fighting and sits down all chill because 'hey i only said i'd get you out and i did 😌' – he started them on the path of subtle teasing and now it's jotaro's turn to dish.

ty again for this wonderful knowledge and happy 2024!!!! 💖🎉🎊 the year of jotavdol is already going great 🔥✨🔥

#ask tag #anonymous #avtaro #jotavdol #avjota #?????#the quest for a ship name continues #honestly you gotta love it when two buff mfers with potential murder machines for souls decide that the best way to be friends #is to metaphorically tug on each other's ears like baby kittens #habibi #husband #shim el yasmine #jotaro kujo #muhammad avdol #joji.txt

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yagamimi-aka-mimi · 1 year

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I couldn't remember what your profile was called and randomly found you again digging through low poly stuff and am so so happy I did, your art is really rad and your models look so good! You have great taste in the best character tropes and Cool Shit, and manage to blend them into some wholly unique and sick as hell designs that are giving me a drive to want to make things again, so thank you! I wanted to ask if you had any other inspirations for your characters that you maybe hadn't listed or had wanted to elaborate on? I really look forward to seeing what you and those you work with continue to create!

Keiko Takemiya, Kentaro Miura, Hajime Isayama, Todd McFarlane, Katsuya Terada, Ayami Kojima, Masamune Shirow, Riyoko Ikeda, Yasuhiro Nightow, Kouta Hirano, Lee Bermejo, Yoji Shinkawa, Junichi Hayama, Hiroyuki Okiura, Naoyuki Onda, Jhonen Vasquez, Tim Burton, Tatsuki Fujimoto, Toshiharu Murata, and Tetsuya Nomura are all the most major influences that come to mind - They all heavily influenced the way I draw and approach character design.

I grew up with a lot of their media, so I've always pulled from them in some way. It's helped me to have a decent balance of very stylized to more realistic influences, so I think I fall somewhere in between. Very anime inspired but I feel I can call my style my own - I wouldn't consider my influences too obvious. The graphical styles that I try to mimic are more obvious though, especially Metal Gear Solid I think.

(A lot of my influences are Japanese, so I guess I'll put this in manga terms) Of the two project's that I'm working on right now, Zelda Retold and Revenant, Zelda leans more into my Shoujo influences while Revenant pulls more from all of the Seinen media I've watched/read, though they both share the same basic style.

I especially implore anyone else who reads this post and doesn't recognize any of these names to specifically check out Keiko Takemiya, Katsuya Terada, Riyoko Ikeda, Yoji Shinkawa, Junichi Hayama, Hiroyuki Okiura, and Naoyuki Onda's art and/or animation work. (Some of the others, like Kentaro Miura and Kouta Hirano, I'd advise checking out with caution)

edit: fixing typos because this ended up being huge sslkaklsgklsdgkl

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synf3ll · 4 months

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was feeling heavily suicidal but i saw art of my babygirl i haven't seen before so now i'm fine. shoutout to junichi hayama for designing the best version of dio

#tw suicide #og #f/o posting #the money i would pay for him to draw me a dio

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280dpi · 1 year

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Interview with Hisashi Kagawa + Yoshihiko Umakoshi from the "Drawing Fantastic Female Fighters" Art Book

An interview with the masters of manga

To start off, we'd like to hear what inspired you both to become animators in the first place.

Kagawa: it was the animation boom on television that triggered my interest. Influenced by the imagery, I started drawing and copying pictures. I ended up copying largely a lot of the anime works. Then I showed those pictures to my sister and my friends and thought, "This makes them happy, which makes me happy."

Umakoshi: I was inspired to become an artist and animator by manga too, and the layouts and frames created by the true pioneers, drawn with color pencils, were just too cool!

Gundam had a huge influence, didn't

Umakoshi: It's the drawing and design techniques for battle heroines, isn't it? It's interesting, seeing as neither I nor Kagawa drew female characters to start with.

Kagawa: As an animator I was heavily influenced by Junichi Hayama, so I'd learned hot to draw bone structure and the like from series featuring very manly men. But I'm applying what I learned from them to female characters as well.

Are your methods and thought processes behind designing female characters different from other animators?

Umakoshi: Oh yes, they're very different.

Kagawa: We've been drawing from a time before the current moe boom, so it's difficult to understand some of the more recent methodologies.

Umakoshi: yes they're incomprehensible, aren't they?

Kagawa: But they say that the start of moe was "Sailor Moon." Having said that, the girls in "Sailor Moon" that I drew had quite masculine personalities and mannish poses. I drew them with the thought that I wasn't one of those moe-type animators and was reacting against all that. Apparently drawing those young girls with such physicality worked for the people who liked that sort of thing.

In the Pretty Cure series that you've both worked on, Kagawa's design have smaller faces and a more realistic feel, don't they?

Kagawa: That was from a request to make them taller looking over all. But there was also a wish to put in more jokes and gags, so there are humorous expressions, "funny faces" in it that hadn't been used previously in the Pretty Cure series. It's pretty reminiscent of early "Sailor Moon" actually.

You can see a lot of differences just from studying the design of a single eye.

Umakoshi: Because I can't do any of that stuff where you add lots of lines and shadows to a young girl's eyes to make them sparkle.

Kagawa: I can't either. It's just so difficult. I only draw the pupils and highlights.

Umakoshi: I can understand that, as our characters have to see, right? Those complicated eyes.

How do you make a character appear cute without drawing over-the-top eyes?

Kagawa: Through their poses and movements.

Umakoshi: We're artists, after all. We look at the situation, the context and adapt and mold their mannerisms and their movements accordingly.

Kagawa: Even the way a character sits, her pose, can be revealing, the off moments when a character's in a contemplative mood.

Umakoshi: The way a small child sits is different from how a highschool-age character sits and so on. The details reveal the character.

How do you realistically depict gestures and mannerisms?

Umakoshi: I don't have children, nor can I really spend much time going out into the streets to observe people, so I tend to use movies and television shows as references.

Kagawa: Watching actresses on screen, you can work out what they do in their performances that catch your attention and captivate you.

Are there any things to pay special attention to during a character's transformation?

Kagawa: We figure out each character's post-transformation/fighter look first then work back from that to develop her alter ego or student avatar, her point of origin. Making her hair shorter, drawing her as close to a simple junior high schooler as possible, designing an original costume or uniform.

Umakoshi: It is easier to work backward, but remember it's a free-flowing, two-way process, each persona is reflected in the other, the battle heroine shows in her everyday persona and vice versa. Oh, and one last thing: have fun with it. It will show in your drawings and the stories they tell!

Do you take special note of those movie scenes?

Kagawa: It's not that I actively try to make any special note of them.

Umakoshi: At the end of the day, our work is to replicate what it was that we found especially good about them. We don't remember the scenes totally in their details, but we try to replicate what we felt it was like. We've had times where afterward we might go back to the original and find it was completely different. But it does come down to wanting to replicate the impressions those scenes evoked.

Do you often have directives as to how character poses should be drawn?

Umakoshi: It's different on each occasion. Sometimes we're given total free rein. With Pretty Cure, didn't we decide things after a discussion with the director and producers?

Kagawa: We did. We had notes from the director about the positions of the characters in scenes and who or what to put in the center. In the copyrighted official illustrations, there were seated poses, as well as standing, and there were some very specific requests about those poses.

Are the costume designs decided form the very start?

Umakoshi: Template patterns tend to be decided from the start quite often. It was decided for Ojamojo Doremi.

Kagawa: Costumes tend to be redesigned by the merchandise department to make them more suited for toys after the animation side has decided on its designs. Also, fairy-character designs tend to be decided before they come to us, and we draw proposals of what they might look like moving int he animation.

Are the antagonists' character and costumes designs decided from the start?

Kagawa: The antagonists aren't decided at all- for toys or costumes- so there's an element of freedom with them. For one of the additional Cures, there's one who changes sides from the antagonists to the protagonists (Eas becomes Cure Passion), and in her case nothing about her design was fixed, so we proposed all her designs. There was input that they wanted to make a toy from part of that design, so then we adjusted accordingly.

Are the magic items' designs already decided with toys in mind?

Kagawa: The items they carry are already designed by toymakers. In Pretty Cure, the costumes were also designed by the toymakers to be changeable in lots of way. Considering that, we made changes to the silhouettes and some of the positions of the costume parts.

Are there any things to pay special attention to from pre- to post-transformation?

Kagawa: In "Fresh Pretty Cure," we decided the main girl's post-transformation design first, then we worked back from that to her pre-design. Making her hair shorter, drawing her as close to a simple junior-high schooler as possible, designing an original school uniform. The first three girls all come from different schools, so we designed their uniforms with the image of their respective schools in mind, such as, "This girl goes to a private school and is a little lady" or "This girl goes to an ordinary public school."

We discussed copyrighted official illustrations earlier, but are there any particular points to be concerned about when drawing those?

Umakoshi: I draw them with the feeling of being able to represent the series with a drawing that says: "This is it!"

Kagawa: "Fresh Pretty Cure" had dancing as a main concept, so I drew the characters in poses that were similar to dancing.

For dance scenes and the like, what do you use for your references?

Kagawa: There's nothing that I specifically use. I go more for images or feelings, like female kung fu motions. Maybe I've drawn some influences from Chinese martial arts, which can look quite balletic. Umakoshi is probably similar to me, since we're both of the Jackie Chan kung fu generation.

Umakoshi: We had a lot of influence from Daisuke Nishio to start with too.

Kagawa: Nishio was a big kung fu fan, wasn't he? Pretty Cure's concept was based on the premise, "What if pretty young girls like in 'Sailor Moon' were to engage in 'Dragon Ball'-like action?" That's why we went for a more refined and elegant style of action over the brawly stuff.

Do you have any particularly memorable moments from your times working on Pretty Cure?

Kagawa: The call to work for "Fresh Pretty Cure" came to me when I'd left Toei Animation to work at another company, so it was the first time in a while that I'd worked with them. I didn't know why they were calling me (ha ha). It was probably because they wanted to expand the age of their viewing audience, so decided they wanted more adult-looking characters, and they called me in because I'd done "Sailor Moon." Because I'd left Toei, I was quite scared to work with them again, but there was the nostalgic feeling of returning to an old roost too. As "Fresh" was the first series that I worked on in a Toei production as both animation director and character designer, it had a big impact for me afterward. At the time, I was a complete novice when it came to the Pretty Cure series, so by taking on board and digesting lots of different people's opinions, I think I was able to get a favorable result.

Umakoshi: The memory that's stuck with me is how happy I was when the character that I just came up with on a whim, Coupe got used in the show. Even though there was some chaos at the studio because of it, at the point of discussing whether to include or not to include the character in the cast, the director approved it. To me, it was a character I'd created because it was fun to "Just have it there," but then it could turn into a beautiful young man, and then it had a mysterious connection with the main character's grandmother. In the end, it became quite an important character (ha ha). Probably the only person who was happy about it was me, but I really was so happy. And the toymakers actually made a model of him. Having said that, when it came to the opening credits and the climax scene and he's rampaging about in them, I took responsibility and drew all the principal frames for his sequences myself (ha ha). My other fond memory is that I was able to be animation director for the last two episodes. The final and penultimate episodes were really tough, but I am so glad that I did them.

#txt #precure #anyways I got the book today and posting for a friend :)#interview #ref

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