或る旅人の日記

或る旅人の日記,translated as 'The Diary of Tortov Roddle' is a rather unique animation series which tells the surreal encounters of a traveller in a magical world. The pictures have bluish green tints and distinguished paper texture like an illustration book. There're 7 or 8 short stories of 3min each. 'Voice overs' are presented in text boxes as diary entries. The general atmosphere is quiet and toned down, despite all the fascinating, bizarre things he witnessed. I find it pretty relaxing to watch.

Some screen shots from the first diary 'City of light'










More episodes here

Official site

给本仁戻的集体慰问信

参加豆瓣的“本仁戻是我老大”小组后遇到少数邪教同好，人数不多但讨论热烈，质量远胜数量。群体给老大写信是柴郡猫发起的，筹划的过程我觉得更有意思：

2008-01-12 01:24:54 柴郡猫·2008·继续腐 (上海)
我请教了我专门迷恋并且追捧外国偶像的朋友，她说大家不用写很多信件，一人买一张明信片就可以了，从各地发出，邮戳不同，不仅有纪念意义，邮寄费用也不贵。
　　因为是大家各自邮寄，如果各位同意的话可以在明信片的角落上标上大家共同商议采用的属于我们小组的专属字样，这样可以让老大知道我们是有组织有计划的在做这件事。
　　一定用日语或英文。并一定要核对好语法及单词的准确性（必要时最好请会日语或英语的朋友一起核对。）
　　
　　大家觉得怎么样？还是说希望由我一并统发？两者我都没有问题，最主要的是保证信封地址的正确性，确保信能被老大收到……

***

2008-01-12 01:30:42 悍马-->gv狂人 (北京)

　　这样可以让老大知道我们是有组织有计划的在做这件事。
　　
　　==================
　　
　　这句好喜感。。。

***

2008-01-12 01:48:58 柴郡猫·2008·继续腐 (上海)

　　汗……是不是太党了…………
　　
　　我从没干过这等事不知道究竟是群发好还是分开发好……大家从长计议，群策群力…………

***

2008-01-12 20:00:30 猪肉馅饼儿 (Vancouver)

　　全靠悍马无比强劲的妈了！！
　　还没想好要写什么，再想想。。。
　　
　　关于群发，我们来接龙吧，大家看行不行啊
　　这里大概七八条走狗吧，假设标号1-8。由1发起写好明信片，寄给2，2写好了传给3，然后4、5、6、7。。。在周转了大半个地球后（若还健在），最后由8负责将贴满邮票、盖满邮戳、满是字迹、皱皱巴巴的有组织有计划性的集体明信片寄给老大。
　　
　　要不要试验一下呢？大家排个队。

***

2008-01-15 10:53:20 柴郡猫·2008·继续腐 (上海)

　　汗…………好吧好吧就这样，大家把明信片寄给我，然后我统一发给老大那个地址。这样既有大家的心意又比一张明信片环游全国更能能节省时间。
　　　　
　　既然这样我就自作主张地来做个募集人和发起人，希望你们表介意：）
　　　　
　　1、想发明信片或者信件的同学请务必要写豆油给我（这也是统计人数），我会回邮告诉你们我的地址。
　　　　
　　2、为了表示我们是团体作战，落款处写自己名字前请加上“本仁戻是我老大小组组员”英文字样。如：A Member of "Modoru Motoni is my boss" Group
　　如果是信件，可以在信件里附上自己的照片或者其他纸质小玩意。不宜过多过重。
　　如果是发明信片，为了不破坏明信片的完整性和收藏性（如果一张明信片的收件人是我而内容完全不搭界，想必很囧），如果愿意或者有可能的话请大家在外面套个信封，收件人写我（中文），但是明信片内容请写给老大的祝福（例如“Dear Modoru：I love U！I'll alaways be your slave,forever more……”等），英文或者日文。我会把所有东西收集完毕打包全部发过去并且存照。
　　　　
　　3、因为不希望活动拖得太长，本次收集明信片活动截止时间为2008年2月14日，2月14日我会去邮局发信（真是寓意深刻的时间啊XD）。
　　　　
　　就是这样一个细则，如果到后天晚上结束（1月18日的零点）还没有人提出异议，那我们就按照这个方案开始执行，请想参加的小犬们尽快给我写豆油获取地址并且尽快发信，其他就不再多做调整了。
　　　　
　　这是我们小组的第一次集体活动，可能有很多疏漏也有不完善的地方，不过相信我们的热情可以补足，等活动结束后我们可以进行总结。而且做人么，总是在一次又一次的摸索中进步成长的（就好比小美纪和阿光做了4次才达到和谐的嘛XDDDD)

***

好吧，我承认我做事很拖，在活动发起半个月后才动笔，现因国内暴雪不知能否赶到情人节前寄到活动HQ。

记录一下过程：

封面是PS过的小美纪和野狗看夕阳，小美纪喜欢喝可乐，野狗喜欢黑咖啡。


打在厚纸上切下来，发现刀不灵光了，划出去两次差点割刀手，惊险！


背面同人一张，临摹时深刻体会到老大的线条真是干脆硬朗啊，绝对不是我这个性格能画出来的。全靠google translate，写了一段我看着也很天书的话，希望是说“dear本仁sensei，我喜欢你，I'm your slave，永远爱你。我还在学日语，下封信会写得更好的。”署名“本仁戻是我老大”小组成员，以体现组织性、纪律性。


从08年的猫台历中撕出2月14和4月7日两天，情人节和老大生日，尽在不言中（肉麻）。


折叠起来插在背面了


立起来可以当台历哈，我真是天才！


现在就指望这情书能赶上大部队直奔老大出版社了。

苏州的雪积了十几厘米。同事的小孩儿上周出生了，大家说要起名叫“雪旺”，姓茅，叫茅雪旺成么？我觉得跟他爸“茅峰”有过之无不及。这雪是天灾啊，南方有人欢喜有人愁。今年冬天那么反常，祈祷过了年能有福来。

えすとえむ est em

很喜欢えすとえむ est em的简约式画风，线条饱满有力，喜欢红白黑这种欧式gothic搭配。我把她的画都存下来了，归罗在一起看时禁不住想，若有人看到我收藏这些（这些多指牛头人身或人头牛身、流着鲜血的绅士，身着大摆褶子裙的男舞者）会觉得我很危险？

作者的小窝


简介：
名：えすとえむ
生日：4.2
血型：A
喜欢：火箭、飞机、船、自然的蓝色、足球、奥林匹克、白熊、马戏团、银幕、雷、斗牛、绅士靴
寻人：名叫Elvis的fashion model

贴几张图，版权えすとえむ est em所有



Twins

井上雄彦NY现场壁画

之前犹豫要不要买他那本water画集的，看到这个后决定还是买！！本尊长的很阳刚啊，和slam dunk里的热血男儿一个模样。

转载转载，原新闻来自Anime news network，翻译by南方动漫网。

井上雄彦献给纽约漫迷惊喜！黑板画后水墨画！














继2004年创下“连续24间高中教室黑板漫画”的空前创举之后，知名漫画家井上雄彦在16日飞抵美国纽约，受邀在全新开募的纪伊国书店花了3天时间亲笔绘制了三幅《浪人剑客 Vagabond》巨幅水墨壁画！

这是来自《Anime News Network》的新闻。日本知名连锁书店纪伊国书店为了庆祝座落于美国纽约Bryant Park的纽约市旗舰店将于19日开幕，特地邀请国际知名漫画家井上雄彦为店内2楼空间的3面墙上作画。其实，会邀请井上老师前去共同开幕还有另外两个原因：第一个，是正在北美发行的《周刊少年Jump》漫画杂志官方英文版确定将以全彩+二色印刷的方式于12月开始连载《灌篮高手》英文版，第二个原因，则是北美知名漫画代理商Viz宣布将在2008年7月正式发行《REAL》英文版漫画单行本。

这三幅水墨壁画，总计花了井上老师3天时间完成，并且顺利在19日的纪伊国书店－纽约市旗舰店开幕式典礼中正式公开。想观赏其他更多照片请参考《Anime News Network》新闻。除此之外，井上老师也愉快接受记者专访。

专访重点摘录如下：

1. 虽然《灌篮高手》表面上是个篮球漫画，但井上雄彦真正要传达的是一个人如何藉由参与某项运动而从中获得体验与成长。

2. 井上雄彦高中时期参加过篮球校队，但自嘲球技并没有很好。即使《灌篮高手》连载完结之后，他的球技还是没有多大进步(笑)

3. 提到日本首位进军NBA的职业球员田卧勇太，井上雄彦对他充满尊敬与敬佩之意。

4. 决定推出纯黑白色调的浪人剑客画集《墨》，井上雄彦认为跟今日主流的彩色画集相较之下，《浪人剑客》惯用的技法使他更能够完美诠释每张画稿。所以井上雄彦才会在推出彩色画集《WATER》之后，坚持一定要推出这本黑白画集。

5. 井上雄彦是应坂口博信之邀而对XBox360最新游戏《Lost Odyssey 失落的奥德赛》进行游戏人物设计。

在受访的最后，井上雄彦表示“当你画漫画的时候，你总是必须坐在桌前一个劲儿地作画，更何况我已经持续这样好多年了。而这里(书店的墙壁)则是给予我一个前所未有的作画环境，瞧、一个超大画布！这样的变化有助于刺激我诸多灵感，而且这些新灵感将能够在我打算进行下一部新作品时派上用场。大师的一举手一投足，满是风采。住在New York的朋友们可别忘了前往那家位于Bryant Park的旗舰店、亲眼目睹大师画作啊！

Ponyo theme song

Ahhhh, the gold fish princess is SO CUDDLY AND CUTE!!

Miyazaki's gonna recreate the magic of My neighbour the Totoros!

Shinkai

After watching the cast interview for 'the place promised in our early days', I have a better understanding of Shinkai's aesthetics. Not a whole new understanding revealed in torch light, but rather an reinforcement of the elements that are already evident in his movies.

He said he used to stare out of the railway train for hours and hours wanting to catch everything. There's always something new to see. So he was bound by a nostalgic childhood scenery that becomes an recurring motif. I guess there is indeed something wonderful and meditative about rusty railways nestled quietly in road grass, appearing blotchy and flickery under warm sunlight. The place isn't for trespassing, except when trains whoosh through with the old chunky chunky rhythm. The two parallel lines could lead you somewhere, might be better than where you stand. Most of all the air smells of a slightly baked summer.

Opposed to a preformed image I have of him, shy and taciturn, Shikai is actually rather outspoken and he talks in 1.5x average human speech pacing (make it 2.0x when he gets carried away). Still I look at him and couldn't help thinking, this's a sensitive guy who makes feminine, monologue movies where voice overs make up for the lack of actions or a solid story plot. Sometimes I wonder if this 'shortcoming', which forwards itself as a trademark rather than an outstanding defect, can be easily brushed aside. There's no limitation to the type of medium a director chooses to fulfill his artistic needs, but there seems to be too much abandon in the code of free expression. It's the same thing when I look at modern art. The spotlight is on 'the concept' while traditional craftsmanship, the solid skills easily slip unnoticed. Call it heavy make-up?

It would be better if Shinkai could do more than a bunch of nostalgic feelings and pretty screensavers.

Byousoku 5cm | 秒速5センチメートル

Info@Anime News Network

For fomality's sake, here's the introduction. Byousoku 5cm (or 5cm per second) is a chain of stories composed of 3 episodes telling a romance story of two childhood friends growing apart geographically because their parents are on constant move but they never stop seeking the shadow of each other. The ending is rather maudlin and sour.

If you're familiar with Makoto Shinkai(the director), his story-telling is very introverted and is based on a large amount of soliloquy pouring out melancholic thoughts for the loved one. Byousoku 5cm is what I take to be very personal and might work effectively for teenage audience who share an experience of tender love, but technically and stylistically, this production is a stand still compared to 'the place promised in our early days', his previous animation feature movie. Background design bears the trademark of soft warm light, classrooms, cherry blossoms, panorama views of grasslands swinging in the wind, all matching well with his romantic slash but none of it goes to his credit. You can't possibly pull the old tricks tirelessly without dulling my senses. Too much sentimentality can be a deadly weakness. At least I don't want to see the wine brewing and brewing till it turns vinegar.

The movie is best summed up in the ending song, some 7min long clip which succinctly concentrates the essence of all 3 episodes.

'I've been looking for you everywhere, in places where I know you don't exist. ' There's something heart wrenching about our foolishness in holding on to an ideal that remains an ideal. We so often refer to such relentlessness as 'youth', thinking it's untainted and beautiful.



Lyrics from Hunting the Elusive

One More Time, One More Chance
Writing: Masayoshi Yamazaki
Arrangement: Toshiyuki Mori
Transliteration and translation: daike
Translation support: Emma
Translation edit: icie

How much more do I have to lose, before my heart is forgiven?
How many more pains do I have to suffer, to meet you once again?
One more time, oh seasons, fade not
One more time, when we were messing around

Whenever we disagreed, I would always give in first
Your selfish nature made me love you even more
One more chance, the memories restrain my steps
One more chance, I cannot choose my next destination

I’m always searching, for your figure to appear somewhere
On the opposite platform, in the windows along the lane
Even though I know you couldn’t be at such a place
If my wish were to come true, I would be at your side right away
There would be nothing I couldn’t do
I would put everything on the line and hold you tight

***

If I just wanted to avoid loneliness, anybody would have been enough.
Because the night looks like the stars will fall, I cannot lie to myself.
One more time, oh seasons, fade not.
One more time, when we were messing around

I’m always searching, for your figure to appear somewhere
At a street crossing, in the midst of dreams
Even though I know you couldn’t be at such a place
If a miracle were to happen here, I would show you right away
The new morning, who I’ll be from now on
And the words I never said: “I love you.”

***

The memories of summer are revolving
The throbbing which suddenly disappeared

I’m always searching, for your figure to appear somewhere
At dawn on the streets, at Sakuragi-cho
Even though I know you couldn’t be at such a place
If my wish were to come true, I would be at your side right away
There would be nothing I couldn’t do
I would put everything on the line and hold you tight

I’m always searching, for fragments of you to appear somewhere
At a traveller’s store, in the corner of newspaper,
Even though I know you couldn’t be at such a place
If a miracle were to happen here, I would show you right away
The new morning, who I’ll be from now on
And the words I never said: “I love you.”

I always end up looking for your smile, to appear somewhere
At the railroad crossing, waiting for the express to pass
Even though I know you couldn’t be at such a place
If our lives could be repeated, I would be at your side every time
I would want nothing else
Besides you, nothing else matters

Satoshi kon's Paprikia

Paprika Official Sony Picture Site



US. Theatrical Trailer


Paprika literally means a spice made from grounded red bell peppers (ref. wiki).

'You can't tell dream from reality' has been a signature motif of Satoshi's kon's films. Paprikia is a come-back of Paranoia Agent.

Skipping over synopsis and trivia, there's something else that interests me. I can surely smell Shinichiro Watanabe! But can it be he has anything to do with this film?? The old cast of cowboy bebop is back and I'm glad I can distinguish their voices without peeking at the credit. Dr. Chiba is voiced by Megumi Hayashibara (Faye) and Dr. Osanai is voiced by Koichi Yamadera (Spike). Take a close look at the character design of Dr. Chiba who looks like a female version of Jin (Samurai Champloo) =D The heavy appearance of parades and dolls, and extensive philosophical quotes draw you back to Ghost in the Shell. Deja vu?

The opening credit is absolutely enjoyable. You see Paprika dashing between dream and reality, blending into objects and appearing from thin air. Detective Konakawa's reoccurring dreams retold in slightly different twists and progressions is another notable highlight. His rendezvous at radioclub.jp bartenders who brought a final message from Paprika closed the film perfectly. After all, it's a Satoshi film which means it's another provocative approach to acute social problems and human emotions. Although I'm not sure with the term 'superflat', I think Satoshi's manipulation of animation to deal with consumerism culture is a forerunner of such motif.

And yes I'm very touched when the ghost of Chiba reveals her love for Tokita, a bear sized fat genius scientist who invented DC mini. Unconventional but sweet!

But again watching Paprika is a head spinning dream experience since psycho patients are talking gibberish and there're absolutely no rules in dream states. That's why animation's probably the best medium to express it!

All photos are taken from Paprika Sony official site. Credits go to the artists and sony picture classics. (This movie is rated R)


Konakawa's dream in which he was caged on a circus stage and a crowd bearing his face swarmed and screamed his name.


In the finale, a void appeared connecting dream and reality. The world was greatly disturbed.


Director Shima's subconscious world was invaded by a big parade. And look at that doll?! Doesn't it look similar to GITS the movie? I'm compelled to conclude Japan is a doll fetish nation...


more dolls and cyborgs


Paprika venturing into a deserted site


I love how Paprika's dressed up in spicy red with that classic oldie hairdo!


Dreams and butterflies ALWAYS go together. Talking about creativity people!!

我们这一家

Sherry介绍的一系列动画片叫“我们这一家”，超级搞笑的家庭笑话。那一家人姓“花”，花家有两个小孩，姐姐叫“橘子”，弟弟叫“柚子”。妈妈长得像恐龙，爸爸像狗熊。搞笑的不行，还蛮有生活哲理的。而且我觉得很多事情自己也都有相同经历，特别是剪头发，买衣服和备考那几集，哭笑不得。强烈推荐！！



Youtube上搜繁体的“我們這一家”，台湾配音，配的很可爱。

橘子的小睡时间（相信大家都有强烈共鸣）



================
动画资料存档 (原文 这里)



== 漫画==
《我们这一家》（あたしンち；ATASHIn'CHI）是日本一部以小家庭成员为中心，表现出日常生活中所发生大小事为题材的漫画与动画作品，原作者为Eiko Kera（けらえいこ）。

最初自1994年6月起，以多段四格漫画组成一回，每回共23格的形式，在《读卖新闻》的星期日版以全彩方式连载，直到2006年3月为止；作品受到不同年龄层读者的欢迎，并于1996年获得文艺春秋漫画奖，2002年获得手冢治虫文化奖。单行本自1995年开始由MEDIA FACTORY出版，目前出版至第12册（至2006年11月）。中文版由东立出版社发行，台湾、香港目前均出版至第12册（至2007年2月）。


== 动画与剧场版 ==
电视动画版于2002年4月开始在朝日电视台播放至今，每周六播出一集，目前已经播出208集（至2006年12月）；台湾的台视、东森综合台与中视，以及香港的无线电视儿童台与翡翠台（2006年12月起在《放学ICU》中播放）也先后播放过电视动画版。另外并由东映制作剧场版《映画 あたしンち》，于2003年12月在日本上映（不过由于票房不如预期，因此至今未有再次制作剧场版的计划），台湾预定于2007年2月9日上映。


== 情节简介 ==
花家，居住在东京近郊城镇，个性看似互异却又有著些许共通点的一家四口，就像是众多小家庭的缩影。不管是家庭当中的生活百态，与同学、友人…等周围人们的日常互动，或是个人的心情起伏以及对事物的各种感受…一个又一个贴近日常生活，平凡中趣味横生的大、小故事持续上演著…。


== 花家 ==
* 花妈（母　配音：日本→渡边久美子；台湾→王瑞芹；香港→雷碧娜）
九州人，标准的家庭主妇。个性相当拚命而固执，总是对一些鸡毛蒜皮小事极为在意，还会为此和橘子、柚子争论不休。坚持“能省则省”的原则，十分贪小便宜和讨厌浪费，不管是吃的、穿的还是用的都不例外。此外也经常将自己的行为合理化（特别是在被人发现自己言行不一时）；对于事物的情绪和动作反应有时也非常夸张。不过倒是经常表现出对爸爸特别在意或包容的心情。

* 花爸（父　配音：日本→绪方贤一；台湾→孙中台；香港→陈永信）
九州人，中年上班族。个性沉默寡言，我行我素，行事作风上有著传统的大男人风格。平日忙于上班与应酬，对于其他事情总是兴趣缺缺，不怎么关心。不过，对于妈妈的奇特或夸张行为，却经常抱持著看笑话的态度，当作娱乐看待，事情影响到自己的时候才会突然生气，而且变得没有耐性和暴躁。有不少怪癖，像是上厕所不关门、酒醉回家后随便打包家里的东西准备丢掉、喜欢把饭碗放在比饭碗小的东西（像是酱油瓶）上等等。

* 橘子（立花みかん（たちばな みかん）　配音：日本→折笠富美子；台湾→林美秀；香港→林元春）
高中二年级学生，由于个子比较矮小的缘故，曾被人误以为是初中二年级学生。个性大而化之又带有一点迷糊，有很多天马行空的梦想，也很喜欢自己一个人做白日梦。经常因为在一些小事上和妈妈意见相左而斗嘴，有时也会因为某些事情而被弟弟抱怨。因为喜欢泰迪熊，所以加入了学校里的“泰迪熊研究社”。

* 柚子（立花ユズヒコ（たちばな ゆずひこ）　配音：日本→阪口大助；台湾→雷碧文；香港→周文瑛）
橘子的弟弟，初中二年级学生。个性细腻、害羞而纯朴，有著深奥的内心世界而很少说话（没有说出来的“内心话”特别多），有著较他姊姊成熟的思想，不过也经常会被妈妈和姊姊有意或无意的行为、言语刺伤。看到妈妈和姊姊作出一些在他看来相当怪异的举动时，暗地里常会戏谑地说“没救了”，而相比起橘子，他是一个十分爱整洁的男孩。因为觉得同班同学石田百合的一些奇怪动作很好笑，所以对她有点好感。非常喜欢听音乐，也有一位喜欢的偶像，名叫丸野丸美。

== Links ==
MEDIA FACTORY我们这一家漫画单行本列表 （日文）
朝日电视台官方网站 （日文）
Shin-Ei动画官方网站 （日文）
Eiko Kera（けらえいこ）网站 （日文）
木棉花"我们这一家"介绍网站（正体中文 - 台湾）：第一季／第二季／剧场版
东森电视第一季介绍网站 （正体中文 - 台湾)
台视介绍网站 （正体中文 - 台湾）
中视介绍网站 （正体中文 - 台湾）
批踢踢BBS我们这一家讨论区 （正体中文 - 台湾）
香港Uwants讨论区我们这一家讨论区 （繁体中文 - 香港）