Blasting with her charms and ripping holes thorough the very fabric of time and space comes Kotobukiya’s Megpoid with her lovely charm and incredibly sculpted being. Probably the most conservative GUMI figurine that has been sculpted up to now, this figurine displays GUMI in her traditional attire with no twists and no surprises. This is GUMI at her GUMI-est.
Closing the old year and opening the new one with a bang comes Algernon Product’s Junko Enoshima figure from Danganronpa.
Initially released much before the animation of the videogame came through, this figure surely opened the path for the visual loveliness that was thee animation, which remained ever so loyal in its looks to its source material. Much like the animation, this figure has a bit of that gorgeousness through its sleek curves and great contrasts.
After much anticipation, and a single delay in its release, this figure was finally released to the world, and shipped to the void that was expecting her within my collection. This figure marks the beginning of a new stage in my figure collecting as I had never before owned a fashion doll, and it also brings its own share of loveliness as this is the only official Yuno Gasai figure there is at the moment, which is quite the sad notion since this character surely deserves more attention than it gets – with her being the single most explored yandere character in recent media.
There was a notion – an idea – of doing something extraordinary with an otherwise dead space in the online world. Out of petty boredom and a small push came the acquisition of this name, and the dead space that once was came back to life for a very short time.
And then it died again. The date in which the last post of this blog was published hilariously lined itself exactly one week after I started what eventually became the most entertaining laboral period I have experienced – which at least lets me know why the abandonment to this place (in particular) happened.
Now the time has come to bring this corpse back to life with a little love, and lots of wrath.
It is funny to think that until little over two months ago there was not a single Revoltech in my figure collection, and now they make up for the largest portion of figure-types in my entire collection by taking about 60% of it (mind you, it is a very small collection). At the beginning I was merely attracted by their low price and the franchises they carried, but after getting more than a couple of figures I came to admire the true nature of their art and to appreciate the slight frustration that can be had at the mercy of a revolver joint.
To switch things a little from my incessant love for GAINAX figurines I decided to try something new in the form of Kaiyodo’s wooden editions of its Revoltech Takeya collection. The expectations I had for these figures were high, and they were pleasantly met with beauty through simplicity that I had never before experienced.
Figure collecting is something I have been doing quite a bit since this year begun, and when the time came for me to add something new from a franchise I enjoy quite a lot, this Reimu managed to catch my attention and she manage to become the first Touhou figure I have ever owned, all while emanating beauty in a part of my room that was quite stale on its own.
From the online preview of the figure I could already tell some of the things I would enjoy the most about her and some of the things I would most certainly not enjoy at all, but these truths were more of a mystery than a fact until this morning when I got my hands on her lovely self… first and foremost, I took a short look at her container.
Food is a delicate subject to try to handle when it comes to movies with their fair share of violence, and where most fail to carry any kind of message (GINGERDEAD MAN, ATTACK OF THE KILLER TOMATOES), it appears that DEAD SUSHI literally has more to bring to the table than just senseless bizarre violence.
Noboru Iguchi tells a tale taking the stable formula of the misunderstood heroine who is in search of her true self once more, but with a more realistic — albeit exaggerated — approach with a life seen through the eyes of the protagonist Keiko (Rina Takeda) as she runs away from home after being considered a disappointment in the art of making sushi (which is surprisingly tied to martial arts and peace of mind) and then deciding to make a path of her own.