asuka langley soryu

Evangelion’s Misato Provides a Home for the Lonely | OWLS “Sanctuary”

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Chances are that if you were linked here from another blogger pal, then you might be new. To those first-timers, “Hi, I’m Takuto, welcome to my anime cafe!” As part of the OWLS blog tour’s  third monthly topic, “Sanctuary,” I decided to pull in all of the Evangelion sources that I could, original series and Rebuild alike, in order highlight that no matter where you may be in the apocalyptic future of Tokyo-3, captain Misato Katsuragi’s apartment will always remain a safe haven from the wrath of the heavens.

A sanctuary is a place of safety and stability. In anime, there are several different places and environments that characters call “home.” For this topic, we will be discussing locations and settings in anime.

Eva is a franchise that you might already know means the WORLD to me, so allowing myself to revisit its iconic universe is a real treat. Thanks Lyn for the prompt!

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A brief discussion on Misato’s Apartment as it appears in the 26-episode 1995 series “Neon Genesis Evangelion,” the critical 1997 film “The End of Evangelion,” and the “Rebuild of Evangelion” film series, produced by Gainax and eventually Khara, all of which were written and directed by Hideaki Anno. 

First, A Welcoming Party

Eva opens up on an alternate present-day Tokyo where “Angels,” ironically named beasts of pure destruction, are in recent rise for some bizarre reason. Shinji Ikari, son of NERV commander Gendo Ikari, is called in to pilot the towering [neon] colored humanoid robot Evangelion Unit-01. NERV, an organization bent on the survival of the human race no matter the cost, may very well be the last battlefront in stopping these beings of terror, but it is ultimately up to Eva pilots like Shinji to determine whether humanity lives to see another day.

Shinji survives the first angel encounter against Sachiel. Barely. But the fact remains that he did actually save everyone, which is why his cold father ensures that Shinji remains on campus in case of another attack. No, the two don’t share the same living space, let alone sleep in the same house. Instead, they mutually agree that rooming together would be the worst possible outcome. Like a mother overprotective of her ducklings (this is funny because she has a pet penguin), the clumsy yet strong captain Misato Katsuragi takes Shinji under her wings and shelters the boy at her own apartment.

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Misato’s place is graphically located quite a ways away from NERV HQ, which is probably for the best considering that they are always on call, and that they already over-shoulder work everywhere else they go. It’s also crucial to note that we never see any interactions with the other apartment members in the complex, nor are the other lights on. It’s only Misato’s that is lit, like a lonely lighthouse guiding lost ships. After the two go out to pick up some welcome party snacks and view the majestic city sunset, the two share a memorably warm if not simple exchange before entering the household:

Misato: “Your things ought to have been delivered already, Shinji. I just moved here myself, ya know? *glancing back* Hey, come in.”

Shinji: “Uh, I don’t . . . want to intrude.”

Misato: “Shinji, this is your home now.”

Shinji: *hesitant pause, finally steps into the apartment, crossing the sliding door lining along the floor, and stares upward shyly* “I’m–I’m home.”

Misato: *closed eyes, smiling* “Welcome home.”

[the apartment door automatically slides shut, revealing the tag M.KATSURAGI]

Misato: “Ummm, as you can see, the place is just a little bit messy but uh, heh, go ahead and make yourself comfortable.”

This is your home now. Wow. Just by reading this you can already get a feel for both of our characters. Shinji is shy, not wishing to impose upon anyone his own troubles. Misato comes across as casual, relaxed, and friendly. But just as how she makes her cameo in a flashy blue sports car with nothing but a seductive picture to go by, the atmosphere quickly shifts from one of formality to an air of light-heartedness. Evangelion masterfully plays with moods depending on how the characters should be reacting to certain situations, and Misato’s apartment, in fact, could almost represent the peaceful and joyful side of the chaos. Now that we’re all acquainted, it’s time to get to know each other beyond the name tags.

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Make Yourself Comfortable

“Is this how you act in public? In front of your friends!?” You might have gotten this spiel by your parents if you’ve ever for a second acted, heaven forbid, without concern for public opinion or manners. Going back to the question, of COURSE I don’t act like this out there—this is home, and home is the one place where an individual should feel less pressured to “suck in their gut,” so to speak. Home is where I can let my guard down, and the characters in Eva do exactly that at the apartment. These moments make up the lighter side of a series otherwise known to offer psychological trauma and emotional turmoil.

 

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Shinji, Misato, and eventually Asuka are free to lounge around with a temporary leave of stress that comes with saving the world. At first it was only a woman and her pet. Soon the dynamic opens up to invite a pseudo son (episode 2), followed by a pseudo daughter (Asuka in episode 9) and an anything-but father (Kaji). Even aunty Ritsuko comes along and plays house at one point!

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Like mentioned earlier, Evangelion is rife with iconography. Some early examples include:

  • Episode 2’s introduction of the song, Misato’s theme
  • Episode 2’s fridge reveal of nothing but ice, snacks, and lots of beer
  • Episode 2’s infamous toothpick scene (adding on with the straw scene in the Rebuild)
  • Episode 2’s recitaiton of “Unfamilar Ceiling” (sheesh, one would think that episode 2 is important for some reason)
  • Episode 9’s synchronization training through DDR and fashion
  • Episode 16’s “I’m bored, so kiss me” by Asuka

Little Shin’s Room ❤

Homes allow people to ponder and create. In the show, we see the characters questioning their own existence, their place in the world, and whether the actions they take are justifiable. The apartment also allows philosophies to be revealed, such as Misato’s “Not everything must be answered with a yes m’am,” or “Wash away your troubles—bathing cleans the mind and soul!” Speaking of bathing . . .

Differing personalities invite conflict, for not everything in Misato’s apartment is happy-go-lucky. Time spent alone allows the darkness to sneak back into their heads. We are permitted to see the characters at their worst, such as this disturbing 20-second bath tangent by Asuka, portrayed by the incredible Tiffany Grant. Whereas bath scenes are supposed to be tranquil and stacked with fan service, Eva, being Eva, turns this cliche on its head to emphasize that not all acts at home are frivolous. Sometimes we get into fights, and that’s natural. Easily, the worst-case scenario remains the pinnacle choking scene from The End of Evangelion, which brings an entirely different and off-putting light to the children’s home, both figuratively and literally.

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What’s So Special About An Apartment

Not much, actually, only that it’s not just a house—it’s a home. A sanctuary from work stress and the trivialities of daily life, if you will. Even though these types of apartments are numerous in Japan, Eva still goes the extra mile in presenting the physical space uniquely. For one, the cinematography is sharp. This is reflected by the angles used, enhancing censored scenes like Shinji’s toothpicks or items such as the bras and lingerie that hang from the ceiling. In this way, the show stays interesting and provides enjoyment for a second time through. Utilizing warm hues of yellow for lighting also provides a sense of ease, unlike the cold LED lights of a hospital or a laboratory (it is HUGE contrast to Rei’s apartment).

As much as it’s fun to break down the inter-workings of the minds of our favorite characters, or pick apart the cause and effect plots of our most beloved stories, taking a minute to admire the physical—locational settings—feels like a nice breath of fresh air.

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It feels like we’ve nearly covered it all, but in fact there’s so much more to the development of the apartment itself. How its atmosphere changes over the course of the story almost makes it seem as if it were a living, breathing entity. Home is a place to relax and be comforted by all the things, living or not, you cherish. It should be a place of intimacy, of quietude, a place to be yourself without anyone telling you how to live. I know not everyone has it this way, and I’m sorry, but I hope you have found your own little sanctuary somewhere in this wild world, or that someone like Misato has provided this comfort space for you.

To those who do settle down at the house, aren’t you the most “yourself” in the comfort of your own home or room? I know I am, and I hope that doesn’t change for at least a little while now. We all need our me-time, and there will never, ever, be something wrong with a lil’ peace and quiet. For those in solitude, just remember that even if you’re all alone without anyone to come home to, your own home will be waiting for you, eyes closed and smile wide, just as Misato was to Shinji. 

Welcome home.

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Take care of yourself. – Neon Genesis Evangelion episode 26 title

Evangelion in its entirety clearly means a LOT to me. You could almost say that it influenced the shape of my character. If you’re interested in more of my ramblings and personal thoughts, please, feel free to browse the archives for more of that Eva goodness!

This concludes my March 8th entry in the OWLS “Sanctuary” blog tour. Please check out Matt’s (Matt-in-the-Hat) post discussing how, in Sword Art Online, there exists sanctuary within gaming. He apparently used my Fairy Dance musings as some inspiration, which makes me all the more excited to check it out! I’ll now toss the ball to BeckNaja (Nice Job Breaking It, Hero), for she will be jumping into Haikyuu!! this Friday, March 10th. (But let’s be honest, when is she not engaged with the show? lol) Thank you so much for reading, and until next time, take care ~

– Takuto

Sleep tight, Misato . . . such a mess, at least she looks comfortable enough

Evangelion’s Rebirth isn’t so Sweet after this Disposable Death | Review

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A review of the spring 1997 anime movie “Neon Genesis Evangelion: Death & Rebirth,” produced by Gainax and Production I.G, based on the original story and series by Hideaki Anno.

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I knew I would be disappointed with this film just by hearing all of the negative feedback it received. Now, would I have sent Hideaki Anno death threats? Lord, no, but I can understand why Death & Rebirth, despite its critically-acclaimed impact on the series, is often – and should be – skipped. To those who haven’t seen it, you’re probably thinking, “Why pass up more information to a series that lacks much explanation as is?” That’s because Death & Rebirth offers absolutely nothing new. Zilch, save for interspersed musical quartet scenes, a one-minute firsthand account of the Katsuragi Mission, and pretty half-way credits moment.

The following song just reminds me of all of the sh*t these poor kids went through. It’s sad, really:

The “movie” is actually two episodes: one 70-ish minutes and the other 30-ish minutes. Part one, Death, is a shotty recap of the first 26 episodes of the original Neon Genesis Evangelion.

Instead of taking the typical approach of sequential order used by most recap episodes, Death jumbles all of the scenes up and attempts to sort them out by characters. That’d be like saying, here’s 20 minutes of Asuka, followed by 10 minutes of Rei, then 20 minutes of Misato, etc. It fails incredibly, however, due to having inconsistent rhythm, nonsensical ordering, and honestly, all of the “meh” scenes from the original series. While I understand going for a psychological approach to sort of line everyone’s emotional patterns, flaws, and triumphs up, that doesn’t mean you cut out all of the quality combat scenes that made Evangelion a fan-favorite.

I always thought this was going to be Death & Rebirth. WHAT IS THIS ARTWORK FROM?? That Angel looks B.A.

By the way, over 90% of the film is REUSED ANIMATON from the series. Wait, what?? The only new thing Death brings to the table is those lackluster quartet scenes mentioned above. Kaworu on first violin, Asuka on second, Rei on viola, and Shinji behind the cello. Even though we don’t get to see them play (cue typical Evangelion black screen and text), the film merely putting classics like the “Canon in D” or “Air” in the background, the assigning of their instruments speaks for itself. Don’t get it? Here:

Shinji Ikari, cello. First to arrive, set up, tune, and practice Bach’s “Cello Suite #1,” a soothing piece which weaves notes on all four strings together; arpeggio (yes I’ve played it, often overhead in media, but whatever). The cello is the closest string instrument to the human voice. Specifically, some say it was modeled after a woman’s — a mother’s voice. Shinji pilots Unit-01, which we all know by now contains the essence of his lost mother. The cello is a mirror to Shinji’s desire to be with his mother again. Also, it’s the only instrument in a traditional quartet that you can hide your chest behind.

Asuka Langley Soryu, second violin. Second to arrive, cheerfully giving Shinji a “good morning call,” unpack, tune, and burst out the first few bars of Bach’s “Gavotte in Rondo,” a busty and springy song full of independence and repeated melody. Want to know why they’re called “second violins?” Simple. It’s because they’re not first; that is what Asuka has been struggling with since the beginning – Always trampling over the competition with a fierce façade, yet falling so short in the last second.

Rei Ayanami, viola. Third to arrive, set up, tune, and wait patiently to start. I can’t remember what she practices (if she even did so), but she plays the viola, an instrument that has been joked about for centuries because it’s nearly impossible to hear. It’s shaped like the violin – an imitation, a clone, much like Rei herself – but it harbors the same strings as the cello. Remember that warm and fuzzy mother feeling I was talking about? Yeah. Starting to see the connection?

Kaworu Nagisa, first violin. Fourth and last to arrive, set up, tune, and become ready to play. I also can’t recall what he practiced, but the instrument speaks for itself. It’s the first violin: It guides the group, provides cues, gets all of the high licks, and impresses us most upon first glance. Kaworu was only around for an episode or two toward the very end, yet his impression not only on Shinji but the audience as well enraptured viewers. SPOILER: Kaworu is not only the last to show up in the film and to quartet practice, but is also the last angel. He’ll literally fly higher than everyone else, whether that’s over the planet or in the music. It is through his death (his final cue) that the show can ascend into its final stage.

Then there’s a 5-minute intermission which plays “A Cruel Angel’s Thesis” on acoustic guitar and another track from the original series . . . Yep, a real freakin’ intermission. That sh*t just made me laugh.

Rebirth, the second half (last third), is actually the first half of the film The End of Evangelion. As such, you should skip this copout and head straight on over to that masterpiece following your Evangelion experience!!

Supposedly, the animation and sound quality in Death & Rebirth is a huge improvement over the original series. I neither saw nor heard a difference, SOOOO, for those interested in my thoughts in those areas, please check out my review of the original series!

I get what Death & Rebirth was supposed to be: a grand compilation of the psychological sides of the main characters meant to “butter you up” for the true end. But it FAILS MISERABLY, and as such I only recommend it to EXTREME fans of the franchise. The content was great, but its presentation just doesn’t do the original series a bit of justice. The playing of Pachelbel’s “Canon in D” by our favorite quartet of psychologically-scarred NERV-lings was a nice end to Death, but since they aren’t actually animated performing (and it’s a crappy compilation), I’m not even going to personally rate it. Instead, I’ll be leaving Neon Genesis Evangelion: Death & Rebirth in the “Breads” section of the café NOT because it’s necessarily bad, just disposable for non-fans. Did I like it?

Let’s just say that in my case, more Eva is a good thing. A wonderful thing.

As always, I hope you found my thoughts interesting! Until the next part of Eva-Week, this has been

– Takuto, your host

The End of Evangelion Review

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Between Neon Genesis Evangelion ending with two episodes of solid ideology talk in Shinji’s mind, and the lack of explanation by SEELE regarding their “Human Instrumentality Project,” how did the series physically end? The End of Evangelion finally gives fans resolution, but does it raise more questions than answers?

First off, the soundtrack for this movie includes many classical pieces that provide an epic feel to the battles. Robots and Angels would be shooting lasers and fighting like crazy, yet all you would hear are the powerful strings and band waltzing around. Really neat touch to the already-unique qualities of Evangelion.

The animation is surreal; especially the spiritual ending the movie is famous for. It’s breathtaking, yet makes you feel strange and without an appetite. Invoking a sense of rejuvenation, the movie’s high quality fight scenes and godly interventions are a splendor. Asuka’s fight against the mass-produced Evas in particular is one of my favorite fights I’ve ever seen in anime – and this film was released in 1997! You can just feel the weight of the colossal metal swords she’s swingin’ around!

There are a few curious shots, however, and particularly when real-life video clips are present for some odd reason –  but it all adds to the feel of the film (WTF) . . . I mean, I guess. . .?

This movie is divided into two 40-ish minute long episodes, which are supposed to break down what actually happens outside of Shinji’s mind in those last two episodes of the series. Making more sense now?

NERV is being attacked by SEELE, which causes pandemonium to break out everywhere. Shinji goes hysterical over the death of Kaworu and spends the first episode confronting the three lead females as to his remaining humanity, each represented by Naoko Akagi’s philosophy of herself: Asuka, the woman, Rei, the mother, and Dr. Akagi, the scientist. Misato embodies a ‘lil bit of each, and continues to act as the free spirit and love, which is why she is one of the last ones Shinji confronts. This is one of Evangelion’s most crucial themes, which is exploited quite thoroughly in this movie. Following Asuka’s last fight and when the three “are rejected by” or reject Shinji himself, they curl up in despair, which is continued in the second half. Shinji then sinks into the next and final phase of his development.

In the second episode and finale, Gendo Ikari attempts to acheive his ultimate goal – the bringing back of his dead wife Yui through the Angel of humanity’s creation – Lilith. Previously, an “accident” during Eva-01’s creation absorbed Yui’s soul and she was absorbed into the Eva as LCL. When Gendo tried to salvage his wife, the first Rei was born instead. This small detail is the cross point of many questions in the series, including why Shinji, Yui’s son, would have been the ideal pilot for Eva-01, and why Gendo was so insistent on Shinji piloting it.

By using the Rei models as clones for his wife, he had planned to unite her with the embryo form of Adam, the First Angel and genetic basis of the Evangelions, to supposedly “bring himself to his wife” or whatever. This fails, however, as Rei grows consciousness (plus a freakin’ personality) and rejects Gendo.

Rei proceeds to unite herself with Lilith, awakening the Second Angel in the process and creating an Anti A.T. Field that turns all humans but Shinji into LCL – the lifeblood of Lilith. The stage is now set for its grandiose climax!

Yui reacts to the rebirth and as a result, Shinji, piloting Eva-01 against Angels, must make a decision:

  1. a) allow instrumentality to succeed, “dissolving” the A.T. fields (ego) of humans so that humanity evolves to become one individual, or
  2. b) reject instrumentality and God knows what happens. . .

At the beginning of Instrumentality, before and during a Shinji’s decision-making,”Komm, süsser Tod” (Come, Sweet Death), an upbeat song plays in the background. I’ve never felt such feels like this with anime ever, and that scene right there was pure bliss. I feel I can just let everything go, that I’ve reached my own salvation with my anime journey.

Because the movie is so intriguing and justly satisfies with a divine ending, I have to take back a comment regarding Neon Genesis Evangelion, in that it is not a “timeless classic.” This movie, however, definitely deserves the title.

Hideaki Anno’s The End of Evangelion does indeed answer the painful questions pondering fans, yet it does so in a very artistic (interpretive) and “spiritual” manner. At its heart, Evangelion is a beautiful story about life. Whether its religious references even make any sense, the movie pulls all of its strings together, ties them in a knot of a balloon called “hope,” and lets it soar into the heavens, so-to-speak. The End of Evangelion is one of the best films to follow an anime ever, and if you haven’t seen it – you’re missing out on a masterpiece. Truly, you are.

“Anywhere can be paradise as long as you have the will to live. After all, you are alive, so you will always have the chance to be happy. As long as the Sun, the Moon, and the Earth exist, everything will be alright.” – Yui Ikari

Whew! What an experience! If you haven’t already seen Neon Genesis Evangelion, go watch it. Like now. I’ve been in such a ponderous mood ever since then it’s not even funny. 🙂 Enjoyed the review? Click the like button below and follow me for more material. Until next time, this has been

– Takuto, your host

PS: Here is a video or two I used to help recap all of the history of the film. If you’re confused about Evangelion, give it a watch – THEY REALLY HELP:

History Explanation – https://www.youtube.com/watch?v=Ho07Ag6lV9g

How Rei is present in the beginning and the end – https://www.youtube.com/watch?v=gNx-wsaEkZ4

Neon Genesis Evangelion Review

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As said in my “You Are (Not) Alone” Valentine’s day post, I had a pleasant three-day weekend to binge-watch the infamous robot anime Evangelion, a timeless classic in the anime community. So what do I have to say about it? Well, I can fully appreciate Ender’s Game now.

Fifteen years ago, the Angels, gigantically scary extraterrestrial life forms, caused The Second Impact, a catastrophe which wiped out half of humanity and literally threw Earth of its axis. In present-day 2015, the Angels have returned in Tokyo. To counteract, a secret UN agency by the name of NERV has developed weapons – human fighting machines known as “Evangelion.” Though they can only be piloted by fourteen-year olds, for some odd reason cause its anime, the heroic Evangelion robots hold up against the Angels with ease – most of the time.

Shinji Ikari’s whole world is thrown into chaos when his asshole of a father, the head of NERV, demands that Shinji pilot purple Evangelion 01 during a sudden Angel attack, even though his own son is terrified of the thought. Regardless of what he truly wants, Shinji must courageously force himself head first into intense battles, diving deeper and deeper into despair and insanity to uncover his self-worth.

Shinji is a difficult character to talk about mainly because his life is a double-edged sword; pilot the Eva and win – everyone loves you. Lose, however, and you’re on everyone’s death list. He has a pussy attitude and his constant apologizing gets on many people’s nerves. To top off this train wreck, he specifically says that distancing himself from others is easier than being with someone. As much as I want to say he is a hero, he really isn’t, but rather the child that humanity must pity. That’s not to say that his life is hell, though, because it definitely sucks! I think a distressed youth such as Shinji was the most interesting viewpoint the series could have had.

Misato Katsuragi, the sexy chief of operations officer at NERV, takes timid Shinji under her wing, serving as the motherly figure that was robbed from him as a child. She is pretty messy, as she leaves beer cans and instant-made food containers lying all around the apartment. For most of the show, she serves as the comedy and fan service side of things, but she’s way more than that. In work, she is punctual, intelligent, and a captain, while at home, Misato is relaxed, carefree, and a lover. Misato is a fun and awesome gal, and Allison Keith portrayed her with a quality-matching English dub performance!

Asuka Langley Soryu pilots red Evangelion 02, and as such acts as Shinji’s partner for parts of the show. She serves the plot as Shinji’s opposite with her busty German speaking and ballsy/brash loud mouth. She too suffers from intense mental grief, shown physically through the way she feels the need to conquer everyone else – that she is better and above all others. The two fight a lot and over the course of the show, she opens him up to a more social, sexually-open life. I especially enjoyed Asuka as a character and her English voice actress, Tiffany Grant. She nailed the German, I tell you! 😉 “Wunderbar…” God damn, I can’t even…

The one whom I was disappointed with was Rei Ayanami. Then again, I’m not one for silent characters. With her blue hair and red eyes, you get the impression right away that something about her seems, hmm, fake? She pilots the prototype orange/blue Evangelion 00. To the plot, she is much more in The End of Evangelion. For now, however, she acts as Shinji’s “love interest,” though they don’t get really far between his shyness and Rei’s awkwardness and lack of communication. Rei is the opposite side of the same coin to Asuka: a peaceful, compliant fantasy girl to a demonic, enticing sex counterpart.

So that’s all, right? Nothing else to the characters? Of course not. Neon Genesis Evangelion’s cast is massive; I’d be spending several reviews recapping just the complexity these last four characters if I could. They are all wonderful, intricate, memorable, and most important of all – human.

All of the characters are pretty screwed up though. Towards the second half and end of the series, they all descend into their own personal hell, growing more insane due to the vibe the Evangelion give off until they eventually crack. Even the good doctor Ritsuko crumbles in madness. It makes you feel depressed, shameful, guilty – just all of the things that they feel, really.

And the plot is the same way. What started out as a regular mech series that has fighters cleverly taking down enemies ended up soiling itself in darkness and messed-up plot turns. However, the show’s real antagonist,” Seele,” lacks so much explanation that they are hard to understand. They pull random crap out of nowhere and it can be really confuzzling. Character motives become distorted and you ultimately end up with a show soaked in raw twistedness.

To the animation by low-budget Gainax – IT’S NOT AS BAD AS PEOPLE SAY IT IS. Frankly, I found the animation to give the show a unique feel to it. Yeah, it’s crap during a plentiful amount of scenes; there are freeze frames where nothing is moving for a freakin’ hour; the Evangelion and Angels are not given justice in Gainax’s animation – so what?! It makes you feel eerie; the dull tone and paleness makes the story more mysterious in a sense. Praise to the Rebuild films – ABSOLUTELY – but this anime makes do with its poor studio budget, and I appreciate that.

The soundtrack supports many militaristic themes for the engaging battles, but nothing really stands out. Even more emotional moments lack interesting tracks. I suppose it fits the mood well, but it’s not a brilliant score by any means. One of the main things I took from this experience was the addicting opening, “A Cruel Angel’s Thesis” by Yoko Takahashi. I kid you not; I never skipped this opening once when I watched the series. While the legendary lyrics don’t really match Shinji’s character, the song is still a must-listen! 😀

If you didn’t understand Neon Genesis Evangelion – that’s fine, did anyone? Just to name a few questions: Who can truly say when evolution has gone too far, as well as whether having a God is a good thing for humanity? As long as you grasped your own beliefs from this anime, then you have mastered the Evangelion experience, so-to-speak. Many believe this anime to be symbolic of life; some think Hideaki Anno was simply high when this show came out in 1995, and he probably was. Neon Genesis Evangelion truly masters character relationships, and is intelligent, creative, disturbing, unnerving, and downright weird. But at that, one hell of a ride. “Science has made us gods even before we are worthy of being men.” – Ritsuko Akagi

Thank you so much for reading my review over this timeless anime classic! Leave a comment below with any thoughts or questions you had. Hit the like and/or follow buttons for more content like this and until next time, this has been

– Takuto, your host