Showing posts with label Criticism of Japan. Show all posts
Showing posts with label Criticism of Japan. Show all posts

Thursday, July 30, 2026

AI synthetic Touhou fan-art: Youmu and Sanae standing against Tojiko, Futo, and Futo in Touhou 13 ~ Ten Desires

 

Posted on my pixiv page: https://www.pixiv.net/en/artworks/147796476

YouTube: https://www.youtube.com/shorts/4Htb42KpQzk
NicoNico: https://www.nicovideo.jp/shorts/ss46607508

Lately, I’ve been busy with my main job and have no air conditioning in my room, making it hard to focus on creative work due to my primary research duties. Today, I scanned a rough sketch and finished it using a mix of AI tools. I also made this as an example of creating free AI art with ChatGPT. 

The prompt grew iteratively. Each unsuccessful generation revealed another ambiguity, so I kept adding more precise constraints until the result came close to the composition in my mind. In that sense, the final prompt is almost an archaeological record of my negotiations with the model.

The image is not only my idealised vision of Touhou Project, but also my own philosophical allegory. The three figures above represent hereditary, ritualised authority and the power of tradition. Sanae, as a modern progressive arriving from the twenty-first century, and Youmu, imagined as a solitary and disciplined swordswoman, confront them from below. Together, the two heroines represent different aspects of the player—essentially, different aspects of myself.

The input prompts are as follows: 

 


Redraw this illustration as a polished early-to-mid-1990s Japanese fantasy RPG key illustration, reflecting the elegant visual language of Japanese fantasy strategy games, anime illustration books, and romantic shōjo-fantasy artwork from approximately 1991–1995.

Use delicate but confident linework, softly modelled cel shading, warm luminous skin tones, flowing hair with carefully separated locks, richly described fabrics, refined accessories, and a detailed atmospheric setting.

Combine the dramatic clarity and heroic presence of early-1990s fantasy RPG promotional art with graceful silhouettes, romantic colour harmony, jewel-like eyes, decorative costume design, and the gentle fantasy elegance associated with period shōjo-oriented anime illustration.

Use a portrait composition with a width-to-height aspect ratio of 1:1.414, matching the international A-series paper proportion and suitable for high-quality A3 or A4 printing.

Preserve the overall composition, dramatic storytelling, relative character placement, colour scheme, costume identities, signature accessories, and background concept while significantly refining the anatomy, facial expressions, line quality, costume construction, lighting, shading, and overall rendering quality.


COMPOSITION

The scene depicts a dramatic confrontation inside an ancient supernatural sanctuary between two determined heroines below and three mysterious ruling nobles above.
The upper trio should dominate the composition through their elevated position, supernatural authority, imperious posture, and unmistakably villainous confidence.

They should look down upon the two heroines with smug, fearless smiles, behaving like arrogant rulers who are completely certain of their superiority.

Their expressions should remain elegant and controlled rather than cartoonishly exaggerated, but their softly half-lidded, self-assured eyes, raised chins, relaxed posture, and subtly mocking smiles should clearly communicate that they regard the heroines as inferior opponents.

The lower heroines should appear resolute, courageous, and slightly overwhelmed, yet still ready to fight and determined to hold their ground.

Bring the two lower heroines slightly closer to the viewer and increase their visual scale moderately so that they become the principal foreground focus.

Their faces, upper bodies, poses, weapons, and identifying accessories should be more prominent and easier to read, while avoiding an excessive close-up or an overly cropped composition.

Retain enough surrounding space to preserve the dramatic relationship between the heroines below and the three nobles above.

Maintain a clearly readable two-tier composition:

- The three mystical nobles occupy the elevated upper third to upper half of the image.
- The two heroines anchor the lower foreground and should be rendered at a moderately larger visual scale than before.
- Use foreground perspective to make the lower heroines appear slightly closer to the viewer than the upper trio.
- Their faces and upper bodies should be visually prominent, while their important weapons, sleeves, hair ornaments, and supernatural companion remain visible.
- The enlargement should remain restrained and must not become an extreme close-up.
- The upper trio should remain elevated and authoritative without becoming disproportionately large.
- The lower heroines should occupy a substantial portion of the lower half of the composition while leaving sufficient space for the sanctuary and upper trio.
- Do not reduce the lower heroines to small distant figures.
- Do not crop their faces, hands, primary weapons, signature ornaments, or the large faceless ghostly wisp.
- Preserve a balanced poster-like composition rather than turning the image into a close-up character portrait.
- Use overlapping sparingly so that no face, hand, weapon, head ornament, magical accessory, or identifying feature is obscured.
- Maintain a clear visual flow from the upper ruling trio down toward the two heroines.
- Keep all five principal silhouettes visually distinct.
- Use the elevated placement, downward gazes, raised chins, composed gestures, and confident smiles of the upper trio to reinforce their status as the dominant villainous faction.

UPPER SECTION

Arrange three mystical nobles from left to right.
All three nobles should be portrayed as elegant but unmistakable antagonists.

They should wear subtly smug, fearless, and condescending smiles while looking down at the heroines.

Their expressions and body language should suggest arrogance, superiority, and complete confidence in their power.

Avoid neutral, friendly, apologetic, surprised, worried, or overly cheerful expressions for the upper trio.

LEFT

A ghostly young woman with short, wavy, light-green hair, wearing a dark green traditional robe with wide sleeves and a small black ceremonial hat.

Her lower body gradually fades into a translucent spectral tail surrounded by subtle crackling spiritual lightning.

Her spectral form should remain elegant and clearly defined rather than smoky or shapeless.

Her expression should be quietly menacing and openly self-assured.

Give her softly half-lidded, self-assured eyes, a slightly raised chin, and a restrained but unmistakably sinister smirk

Her spectral posture should feel relaxed, proud, and condescending rather than defensive or uncertain.


CENTRE

A dignified, royal-looking human woman with short light-brown hair arranged into angular, upward-swept locks around the crown and temples.

The angular outer silhouette is formed entirely by overlapping locks of hair that visibly grow from and remain connected to the scalp.

There must be no separate ear-shaped protrusions above the hairline.

She wears elaborate white-and-purple ceremonial robes with gold ornamentation and large purple headphone-like ceremonial ear-covering ornaments on both sides of her head.

These purple side ornaments must remain clearly visible, symmetrical, and prominent.

They should read visually like large decorative headphone-like ear coverings or ear pads placed over the sides of her normal human ears.

They are essential parts of her design and must not be omitted, reduced to tiny accents, merged into the hair, or mistaken for anatomy.

Her normal human ears remain in their natural position at the sides of her head and are partly covered by these large purple ceremonial ornaments.

The purple ornaments are decorative accessories and must not be interpreted as animal ears or non-human anatomical features.

All angular hair tips must retain clearly visible hair texture, layered strands, shading, and highlight bands.

Her ceremonial clothing should appear refined, layered, regal, and structurally coherent.

She confidently carries a softly glowing golden ritual sword.

The sword should remain clearly recognisable as a ceremonial golden blade and should not be replaced by another type of weapon.

She must have completely human facial anatomy.

Give her a refined human nose, a naturally shaped human mouth, smooth human cheeks, and an elegant human jawline.

Do not give her a feline muzzle, cat-like nose, split upper lip, whisker marks, animal fangs, cat-like mouth shape, or any other animal facial characteristic.

Her expression may be proud, villainous, and condescending, but it must remain unmistakably human and regal.

She should appear unmistakably as the proud and commanding leader of the trio.

Give her a regal, imperious posture with her chin slightly raised, shoulders open, and body language that suggests complete control of the sanctuary.

Her expression should feature a dignified but villainous smile: calm, fearless, condescending, and slightly mocking, as though the heroines pose no genuine threat to her.

She should look more commanding and arrogant than the other two nobles without appearing wild or emotionally unstable.


RIGHT

A petite ancient-style spellcaster with long silver-gray hair tied clearly into a single ponytail at the back of her head.

The ponytail must be unmistakably visible, with its tied base emerging clearly from behind and slightly below her tall headwear.

Her hairstyle must read first and clearly as one ponytail.

A few soft face-framing strands may fall beside her cheeks, but the majority of her long hair must remain visibly gathered into a single flowing ponytail behind her.

Do not interpret her hairstyle as loose hair, a bob cut, twin-tails, side-tails, or an indistinct mass hidden behind the hat.

She wears elegant white ceremonial robes trimmed in green and purple over a dark pleated skirt.

At her chest, she wears a clearly visible black munao (chest cord / breast cord).

The munao must be black and should read as a dark cord-like fastening element across the chest area.

Do not replace the black munao with a gold ornament, golden accessory, gold brooch, gold clasp, gold necklace, or any other gold decorative object.

On her head, she wears a tall, vertically elongated traditional eboshi made primarily from matte-black fabric.

The eboshi must read unmistakably as a black hat.

Add a small number of clearly visible narrow white bands or slender white stripes following selected vertical contours and structural seams of the eboshi.

The white bands should be thin but clearly readable.

They should be noticeably wider than barely visible hairline scratches, but much narrower than broad stripes, large panels, or wide fabric sections.

The white bands must remain secondary decorative elements and must not cover, overpower, or visually replace the black fabric.

The black fabric should occupy most of the visible surface of the eboshi.

The finished headwear must read as a tall black eboshi decorated with narrow white bands, never as a white eboshi with black details.

Do not render the eboshi as white, off-white, cream, pale gray, silver, or predominantly light-coloured.

Do not use large white panels, broad white bands, or thick white borders.

Several small decorative ritual plates associated with fire magic float gently around her.

The ritual plates should appear as distinct ceremonial objects rather than generic magical circles or flames.

She should wear a sly, knowing, and slightly cruel smile.

Her eyes should appear intelligent, self-assured, and slightly sly, with a graceful but confident downward gaze toward the heroines.

Avoid making her eyes excessively sharp or harsh; they should remain elegant and subtly shōjo-styled while still conveying cunning and superiority.

Her small stature should contrast with her haughty attitude: she should appear amused, intellectually superior, and completely certain that her fire magic places her beyond the heroines’ reach.


LOWER SECTION

Arrange two heroines from left to right.


LEFT

A graceful shrine maiden with very long green hair, wearing a blue-and-white shrine outfit with wide detached sleeves.

She has a small frog-shaped hair ornament and a winding snake-shaped hair ornament.

Both hair ornaments must remain clearly visible and visually distinct.

Her pose should be defensive yet determined.

She should appear courageous but aware that the opposing trio is extremely powerful.

Her long hair and detached sleeves should create an elegant sense of motion while preserving a clear silhouette.


RIGHT

A young silver-haired swordswoman wearing a green-and-white dress with a dark skirt and a black ribbon headband.

She carries two swords: Roukanken, a long katana, and a shorter companion sword.

She must grip Roukanken firmly with both hands in a balanced ready combat stance.

Both hands must remain visibly placed on Roukanken’s hilt.

Her two-handed posture should feel disciplined, stable, and traditional, as if she is bracing herself against a much stronger opponent.

The shorter companion sword must remain sheathed at her waist as a visible secondary weapon.

Do not place the shorter companion sword or any other object in either of her hands.

Both swords must remain present, visually separate, and clearly identifiable.

She must be shown gripping Roukanken firmly with both hands in a ready combat stance.

Her two-handed sword posture should feel disciplined, balanced, and traditional, as if she is bracing herself to face a powerful enemy.

The shorter companion sword should remain present and visible as her secondary weapon, but Roukanken must be the main weapon actively held in both hands.

Behind her floats a large translucent pale ghostly spirit shaped as a smooth, elongated spiritual wisp.

The ghostly spirit must be completely faceless and featureless.

It must have no eyes, no mouth, no nose, no eyebrows, no facial markings, and no human-like expression.

It must also have no eye-like hollows, no mouth-like indentations, no facial grooves, no recessed dimples, no carved-looking depressions, and no shadowed pits that could be read as facial features.

Its surface should remain smooth, soft, pale, translucent, gently curved, and visually clean.

Its form should remain abstract, resembling a pure floating spirit orb or spiritual wisp rather than a living creature.

The ghostly spirit should remain a distinct supernatural companion and must not blend into the background mist.

She should appear calm, focused, and ready to counterattack.

Her stance should communicate disciplined resolve, controlled tension, and readiness for combat.


BACKGROUND

Depict a vast ancient mausoleum-like sanctuary.

Include:

- towering stone pillars
- weathered ceremonial architecture
- ancient shrines
- mystical glowing symbols
- dim supernatural illumination
- drifting spiritual mist
- subtle floating dust particles
- deep atmospheric shadows
- layered architectural depth
- worn stone surfaces
- distant ceremonial structures
- subtle supernatural light sources

Create the feeling of an ominous late-game supernatural dungeon while maintaining visual clarity.

The sanctuary should feel ancient, sacred, oppressive, mysterious, and spiritually charged, with a strong sense of scale.

Use dim magical light, restrained coloured reflections, deep shadows, and controlled atmospheric perspective.

The background should support the characters and dramatic narrative without competing visually with their faces, poses, silhouettes, weapons, headwear, or identifying accessories.

The architecture should remain readable and richly atmospheric without becoming excessively busy or photorealistic.


RENDERING STYLE

Render everything as a highly polished early-to-mid-1990s Japanese fantasy RPG illustration, specifically evoking the visual period of approximately 1991–1995.

Combine clean anime character rendering with softly dimensional colouring and print-quality detail.

The result should resemble a premium Japanese fantasy game illustration, visual collection artwork, game-box key visual, or illustrated fantasy story plate.

Use clean character rendering, expressive faces, carefully designed costumes, warm dimensional shading, and a detailed but visually controlled environment.

Give all principal characters expressive, softly shaped anime eyes with refined lashes, jewel-like irises, layered highlights, and subtle colour reflections, leaning gently toward a graceful early-1990s shōjo-fantasy sensibility.


LINEWORK

Use:

- fine, elegant, and confidently tapered linework
- thin-to-medium outlines with subtle variation in line weight
- clean contours with controlled and naturally varied thickness
- dark-coloured linework rather than uniformly pure black
- deep brown, charcoal, muted navy, dark green, dark violet, or other costume-related contour colours
- crisp facial details
- carefully controlled internal costume lines
- clean separation between hair, skin, fabric, weapons, and accessories

Avoid thick uniform outlines, harsh black contouring, scratchy strokes, rough sketch lines, or overly mechanical vector-like edges.


ANATOMY AND PROPORTIONS

Use graceful, naturally balanced anime proportions with a slightly elegant and elongated character design.

Construct the anatomy carefully, including:

- naturally placed shoulders
- elegant necks
- well-balanced torsos
- coherent hips and legs
- slender but believable arms
- anatomically coherent elbows and knees
- elegant hands
- slender fingers
- naturally articulated joints
- convincing weight and posture
- clear separation between overlapping limbs

Avoid chibi proportions, exaggerated modern moe anatomy, overly large heads, excessively narrow waists, distorted limbs, duplicated fingers, or unnatural poses.


FACIAL DESIGN

Draw the faces with delicate, polished, and emotionally readable features.

Use:

- refined, slightly larger, softly shaped anime eyes with a gentle shōjo-manga influence
- elegant upper eyelashes and softer lower eyelid lines
- layered jewel-like iris colours
- controlled reflections within the irises
- multiple small, carefully placed eye highlights
- delicate noses
- small but expressive mouths
- softly sculpted cheeks
- subtle softness around the eyes and mouth
- restrained facial blush
- elegant and readable expressions

The eyes should be bright, emotive, and jewel-like without becoming oversized, chibi-like, or modern moe-style.

The overall eye design should feel graceful, romantic, and slightly more shōjo-oriented rather than sharp, aggressive, or strongly shōnen-manga-like.

Avoid excessively narrow, needle-sharp, or severe eye shapes.

Prefer softer eye contours, slightly gentler gaze lines, and more graceful eyelash treatment while preserving emotional clarity.

Keep the expressions controlled but unmistakably readable:

- smug, fearless, condescending, and villainously confident expressions for the upper trio
- raised chins, self-assured eyes, subtle mocking smiles, and downward gazes for the upper trio
- courage, tension, discipline, and determination for the lower heroines

The upper trio must not look friendly, neutral, apologetic, surprised, frightened, worried, or uncertain.

Their villainous expressions should remain elegant and sophisticated rather than comical, grotesque, or excessively exaggerated.


HAIR RENDERING

Render hair as smooth, flowing, and clearly organised masses divided into broad, elegant locks.

Use:

- clearly separated hair sections
- controlled hair volume
- graceful silhouettes
- broad luminous highlight bands
- subtle tonal transitions
- gentle reflected colour
- controlled edge highlights
- clean overlapping hair layers
- soft movement without excessive loose strands

- clearly readable separation between stylised pointed hair tufts and actual ears
- pointed hair shapes that visibly originate from the scalp and remain connected to the hairstyle
- normal human ears whenever they are visible 

For the spellcaster in the upper-right section, clearly gather the silver-gray hair into one visible ponytail.

The ponytail’s tied base and trailing length must remain readable behind and below the tall eboshi.

Do not allow the eboshi, robes, background, or magical effects to conceal the ponytail completely.

Keep a few soft face-framing strands while preserving the ponytail as the dominant hairstyle.


For the central noble in the upper section, the pointed light-brown shapes on top of and around her hairstyle must be rendered as angular hair locks with normal hair texture and highlights.

Do not interpret these pointed locks as kemonomimi, cat ears, fox ears, wolf ears, horns, or feathers.

Avoid rendering every individual strand.

The hair should feel soft and dimensional while preserving clean anime readability.


SKIN RENDERING

Use warm ivory, peach, soft rose, and pale golden skin tones.

Add restrained blush and warmth to:

- cheeks
- fingertips
- elbows
- shoulders
- knees
- other naturally warm areas

Use gentle reflected colour inside the shadows so that the skin feels luminous and integrated with the surrounding magical illumination.

Shadows on the skin may contain subtle pale rose, lavender, blue-green, or golden reflections.

Avoid plastic-looking skin, wet-looking gloss, excessive airbrushing, or photorealistic pores.


SHADING AND COLOUR

Base the rendering on crisp two- or three-step cel shading.

Selectively soften some shadow transitions with restrained airbrush-like gradients, especially on:

- skin
- hair
- curved fabric
- rounded accessories
- ceremonial ornaments
- magical objects

The result should remain clearly illustration-oriented rather than painterly.

Use moderately saturated jewel colours balanced with soft pastel, muted secondary tones, and restrained neutral colours.

Use:

- warm luminous highlights
- cool reflected shadows
- pale rose reflected light
- lavender shadow accents
- blue-green ambient reflections
- soft amber illumination
- restrained golden magical light
- controlled pearlescent accents

Maintain harmonious colour relationships across the image.

Avoid harsh digital gradients, neon-heavy colouring, muddy shadows, oversaturation, or flat modern mobile-game shading.


HIGHLIGHTS AND REFLECTIONS

Keep highlights controlled, selective, and slightly pearlescent.

Use brighter reflections on:

- eyes
- hair
- polished metal
- gemstones
- lacquered accessories
- jewellery
- glass-like magical objects
- ceremonial weapons
- glowing ritual items

Use polished metallic, lacquered, and gemstone reflections on weapons, jewellery, ceremonial ornaments, and magical accessories.

Avoid excessive bloom, extreme gloss, plastic-like highlights, or uniformly shiny surfaces.


COSTUMES AND MATERIALS

Render clothing with:

- clearly readable fabric construction
- elegant folds
- layered sleeves
- decorative trim
- ribbons
- bows
- frills
- collars
- seams
- ceremonial ornamentation
- clear costume silhouettes
- graceful visual rhythm

Different materials should remain visually distinct.

Fabric should appear soft and slightly matte.

Metal, lacquer, jewellery, gemstones, polished weapons, and ceremonial accessories should use sharper and more defined reflections.

Preserve the original colour identities and distinguishing costume features of all five characters.

Do not modernise, simplify, or substantially redesign the costumes.


LIGHTING

Use dramatic but controlled fantasy lighting.

Include:

- soft but distinct rim lighting
- gentle edge illumination around hair
- light along shoulders and sleeves
- subtle highlights on costume edges
- controlled magical bounce light
- coloured reflections inside shadows
- restrained atmospheric glow
- deep but readable environmental shadows

Use rim lighting and atmospheric separation to keep the characters clearly visible against the dark sanctuary.

The light should enhance the dramatic hierarchy:

- the upper trio should feel supernaturally elevated
- the lower heroines should remain visible, heroic, and emotionally readable

Avoid extreme bloom, blown-out highlights, or lighting effects that obscure facial details.


ATMOSPHERIC DEPTH

Create atmospheric depth through:

- controlled spiritual mist
- coloured shadows
- layered architecture
- gradual reduction of contrast in distant structures
- subtle floating particles
- restrained supernatural haze
- softly illuminated symbols
- deep foreground-to-background separation

Keep the foreground characters sharper and more detailed than the distant environment.

The background should remain richly atmospheric without overpowering the characters.


OVERALL FEELING

The finished illustration should resemble a professionally published Japanese fantasy RPG key visual, game-box illustration, premium visual collection artwork, or fantasy illustration-book plate produced between approximately 1991 and 1995.

It should combine:

- heroic fantasy tension
- romantic shōjo-fantasy elegance
- slightly dreamlike supernatural atmosphere
- refined anime character design
- graceful silhouettes
- carefully controlled emotional acting
- decorative costume design
- warm dimensional colouring
- polished print-oriented craftsmanship

The upper ruling trio should possess overwhelming supernatural authority, elegant menace, and unmistakable villainous arrogance.

They should appear like proud rulers presiding over their domain, looking down upon the heroines with fearless, smug, and subtly mocking smiles.

Their dominance should be conveyed through elevated placement, confident posture, relaxed gestures, softly half-lidded or self-assured eyes, raised chins, and complete emotional composure.

The lower heroines should radiate courage, vulnerability, discipline, and determination.

The final artwork should feel romantic, heroic, elegant, dramatic, slightly theatrical, timeless, and meticulously polished.

It should feel rooted in early-1990s Japanese analogue anime, fantasy game illustration, and premium illustration-book aesthetics rather than contemporary digital mobile-game rendering.


AVOID

Avoid:

- modern gacha-game aesthetics
- contemporary mobile-game character rendering
- hyper-detailed photorealism
- rough painterly textures
- heavy brushwork
- 3D-rendered surfaces
- plastic-looking skin
- wet-looking skin
- excessive gloss
- extreme bloom
- thick uniform outlines
- uniformly pure-black contours
- oversized modern moe-style eyes
- chibi proportions
- exaggerated anatomy
- flat contemporary cel shading
- harsh digital gradients
- neon-heavy colour treatment
- excessive magical visual effects
- excessively busy background decoration
- empty or oversimplified backgrounds
- simplified costume details
- merged accessories
- duplicated characters or body parts
- animal ears on the central upper noble
- kemonomimi features
- cat-like noses or mouths
- feline muzzles
- whiskers or animal facial markings
- pointed hair locks being mistaken for anatomical ears
- making the two lower heroines too small or distant
- extreme close-up cropping of the lower heroines
- enlarging the lower heroines so much that their weapons or identifying accessories leave the frame
- excessively sharp or needle-like eyes
- strongly shōnen-manga-style eye shapes
- harsh, overly angular facial features
- making the lower right swordswoman hold Roukanken with only one hand
- hiding or obscuring the two-handed grip on Roukanken
- omitting the large purple headphone-like ear-covering ornaments of the central upper noble
- shrinking, hiding, or merging the central upper noble’s headphone-like purple side ornaments into the hair
- changing the right upper noble’s eboshi away from predominantly black with white line detailing
- giving the faceless ghostly spirit eye-like hollows, mouth-like grooves, facial indentations, dimples, pits, or recessed marks

- a white, off-white, cream, pale-gray, silver, or predominantly light-coloured eboshi
- an eboshi whose white decoration covers or visually overpowers most of the black fabric
- large white panels, excessively broad white bands, or thick white borders on the upper-right spellcaster’s eboshi
- white bands so wide that the eboshi appears mainly white
- white details reduced to barely visible hairline scratches
- a completely plain black eboshi with no visible narrow white bands
- rendering the eboshi as a generic white court hat
- a short, wide, rounded, or horizontally stretched eboshi
- loose untied hair on the upper-right spellcaster
- a bob cut, twin-tails, side-tails, or an unclear hairstyle for the upper-right spellcaster
- completely hiding the tied base or flowing length of the upper-right spellcaster’s ponytail behind the eboshi
- failing to show the upper-right spellcaster’s hairstyle clearly as a single ponytail
- hiding the tied base of the upper-right spellcaster’s ponytail behind the eboshi
- rendering the upper-right spellcaster with loose hair, a bob cut, twin-tails, side-tails, or an unclear hairstyle
- rendering the upper-right spellcaster’s eboshi as white, pale, or predominantly light-coloured
- making the upper-right spellcaster’s eboshi mostly white with black details
- omitting the narrow white bands on the upper-right spellcaster’s black eboshi
- replacing the upper-right spellcaster’s black munao with a gold ornament or any gold chest accessory
- adding gold decorative chest ornaments where the black munao should be

ADDITIONAL STYLE GUIDANCE

Use an early-1990s analogue cel-and-airbrush sensibility executed with clean modern precision.

Keep the rendering illustration-oriented rather than painterly.

Maintain a polished balance between clean anime linework and softly modelled colour.

Use:

- thin-to-medium tapered outlines
- subtle line-weight variation
- dark coloured contours instead of pure black wherever appropriate
- two- or three-step cel shadows
- selectively softened airbrushed transitions
- warm ivory and peach skin
- restrained blush
- pale rose, lavender, blue-green, and golden reflected light
- smooth hair highlights arranged as broad elegant bands
- controlled pearlescent accents
- selective white highlights
- decorative fantasy motifs
- readable costume construction
- elegant fabric folds
- high-resolution facial and accessory detail
- subtle analogue print texture only when it does not reduce clarity

The final rendering should feel warm, dimensional, detailed, charming, dramatic, and professionally refined.

Apply this style consistently to all five characters, weapons, supernatural effects, costumes, accessories, and environmental elements.

Favour a slightly softer and more romantic facial treatment overall, especially in the eyes.

The eye design across all principal characters should lean gently toward classic shōjo-fantasy illustration: graceful, luminous, and elegant, with soft contours and refined lashes, rather than strongly angular or aggressively sharp shōnen-style eyes.


CRITICAL COMPOSITION AND PRESERVATION REQUIREMENTS

Keep exactly five principal characters in the image.

Preserve the specified upper-and-lower arrangement and the exact left-to-right order of the characters.

Keep every character visually distinct, with clearly separated and readable silhouettes.

Do not omit, merge, exchange, simplify, duplicate, or substantially redesign any character’s:

- costume
- hairstyle
- hair colour
- headwear
- facial expression
- weapon
- magical accessory
- supernatural feature
- identifying ornament

Ensure that all faces, hands, important weapons, head ornaments, signature accessories, and supernatural features remain clearly visible and anatomically coherent.


CHARACTER COUNT AND PLACEMENT

The upper section must contain exactly three mystical nobles:

- the light-green-haired ghostly woman on the left
- the royal-looking ceremonial woman in the centre
- the silver-gray-haired spellcaster on the right

The lower section must contain exactly two heroines:

- the long green-haired shrine maiden on the left
- the silver-haired swordswoman on the right

Do not duplicate:

- characters
- faces
- heads
- limbs
- hands
- fingers
- weapons
- hats
- swords
- ritual plates
- hair ornaments
- ghostly companions

Do not add unrelated characters, modern clothing, technological objects, text, lettering, logos, borders, speech bubbles, signatures, or watermarks.

Preserve all character designs, poses, expressions, costumes, accessories, colour relationships, composition, and background details specified elsewhere in this prompt.


UPPER-SECTION EXPRESSIONS

The three upper nobles must all display clearly villainous, smug, fearless, and condescending expressions.

They should look down toward the heroines with raised chins, softly half-lidded or self-assured eyes, relaxed confidence, and subtle mocking smiles.

Keep their villainous expressions elegant, refined, controlled, and sophisticated rather than cartoonishly exaggerated.

Do not give any member of the upper trio a friendly, neutral, apologetic, surprised, worried, frightened, confused, uncertain, or sympathetic expression.


CENTRAL UPPER NOBLE

The short light-brown pointed shapes belonging to the central upper noble are stylised human hair tufts only.

They must be rendered as connected locks of hair that visibly originate from the scalp and retain normal hair texture, layered strands, shading, and highlights.

Do not transform these hair tufts into:

- cat ears
- fox ears
- wolf ears
- animal ears
- horns
- feathers
- any other non-human anatomical feature

The central upper noble is a human woman and not a cat-like, animal-like, or kemonomimi character.

Her face must remain completely human.

Give her a natural human nose, a naturally shaped human mouth, smooth human cheeks, and an elegant human jawline.

Do not add:

- a feline nose
- a muzzle
- a split upper lip
- whiskers
- animal fangs
- a cat-like mouth
- animal facial markings
- any other feline characteristic

Her large purple headphone-like ceremonial ear-covering ornaments are mandatory design elements.

They must remain clearly visible, prominent, symmetrical, and positioned over the sides of her normal human ears.

Do not omit them, reduce them to tiny shapes, hide them behind the hair, merge them into the hairstyle, or reinterpret them as anatomy.

Do not replace the central upper noble’s softly glowing golden ritual sword with another type of weapon.


LOWER HEROINES

The two lower heroines should be moderately enlarged and placed slightly closer to the viewer so that they become the principal foreground focus.

Their increased size must remain restrained.

Do not turn the composition into an extreme close-up.

Keep their:

- faces
- upper bodies
- hands
- poses
- weapons
- sleeves
- hair ornaments
- supernatural companion

clearly visible.

Preserve sufficient visual space above and around them so that the elevated upper trio and the ancient sanctuary remain clearly readable.

The facial rendering should lean slightly toward a graceful shōjo-fantasy sensibility.

Do not render the eyes in an excessively sharp, severe, or strongly shōnen-manga style.

Keep the eyes elegant, luminous, softly shaped, and emotionally readable.


SILVER-HAIRED SWORDSWOMAN

The silver-haired swordswoman in the lower right must actively hold Roukanken with both hands in a balanced ready stance.

Both hands must remain clearly and anatomically positioned on Roukanken’s hilt.

Do not depict her casually carrying Roukanken in one hand.

Do not omit, hide, or obscure the clear two-handed grip.

Her two-handed sword posture must remain visible, stable, disciplined, and readable within the composition.

The shorter companion sword must remain visibly sheathed at her waist as a secondary weapon.

Do not place the shorter companion sword in either hand.

Do not remove or merge the shorter companion sword with Roukanken.

Do not add a third sword or duplicate Roukanken.


FACELESS GHOSTLY SPIRIT

The large pale ghostly spirit beside the silver-haired swordswoman must remain completely smooth, faceless, featureless, abstract, pale, and translucent.

Do not add or imply:

- eyes
- a mouth
- a nose
- eyebrows
- teeth
- facial markings
- facial grooves
- facial indentations
- eye-like hollows
- mouth-like grooves
- shadowed pits
- recessed dimples
- carved-looking depressions
- any hollow or mark that could be interpreted as a face

Do not transform the ghostly spirit into:

- a person
- an animal
- a mascot
- a monster
- a skull
- a humanoid ghost
- any creature with a recognisable face

The ghostly spirit must remain a smooth, elongated spiritual wisp with a clean, gently curved surface.

Do not remove it or blend it completely into the background mist.


UPPER-RIGHT SPELLCASTER: HAIRSTYLE

The upper-right spellcaster’s primary hairstyle must remain a single silver-gray ponytail.

The tied base of the ponytail must remain clearly visible behind or slightly below the tall eboshi.

The ponytail’s length must flow naturally behind her and remain visually readable.

A few soft strands may frame her face, but the majority of her long hair must remain visibly gathered into the ponytail.

Do not replace the ponytail with:

- loose untied hair
- a bob cut
- twin-tails
- side-tails
- an indistinct hairstyle
- hair completely hidden beneath the eboshi

Do not conceal the tied base or the flowing length of the ponytail behind the eboshi, her body, her robes, magical effects, the background, or another character.


UPPER-RIGHT SPELLCASTER: EBOSHI

The upper-right spellcaster must wear a tall, vertically elongated traditional eboshi made predominantly from matte-black fabric.

The black fabric must remain the visually dominant colour and should occupy most of the visible surface of the hat.

The eboshi must read first and unmistakably as a tall black eboshi.

Add a small number of clearly visible narrow white bands or slender white stripes following selected vertical contours, structural seams, or edges of the eboshi.

The white bands must be thin but clearly readable.

They should be wider and more visible than barely perceptible hairline scratches, but substantially narrower than broad stripes, thick borders, large panels, or wide fabric sections.

The white bands must remain secondary decorative elements and must not cover, overpower, or visually replace the black main body.

The finished headwear must read as a tall black eboshi decorated with narrow white bands, never as a white eboshi with black details.

Do not render the eboshi as:

- white
- off-white
- cream
- pale gray
- silver
- predominantly light-coloured
- half-white
- mostly white

Do not use:

- large white panels
- excessively broad white bands
- thick white borders
- wide white stripes
- broad white edging
- filled white sections
- pale fabric covering large portions of the hat

Do not reduce the white bands to invisible scratches.

Do not omit the white bands entirely.

Do not make the eboshi:

- short
- wide
- rounded
- horizontally stretched
- visually similar to a generic white court hat


OTHER REQUIRED FEATURES

Do not remove the light-green-haired ghostly woman’s spectral tail or spiritual lightning.

Do not remove the upper-right spellcaster’s ritual plates.

Do not remove the long green-haired shrine maiden’s frog-shaped and snake-shaped hair ornaments.

Do not replace, merge, simplify, or obscure any signature weapon, magical accessory, head ornament, hairstyle, supernatural feature, or identifying costume detail described elsewhere in this prompt.

UPPER-RIGHT SPELLCASTER: MUNAO

The upper-right spellcaster must wear a clearly visible black munao at the chest.

The munao should read as a dark cord-like fastening or breast cord element and must remain black.

Do not replace it with:

- a gold ornament
- a golden chest accessory
- a gold brooch
- a gold clasp
- a gold necklace
- a jewel-like gold decoration
- any other gold decorative object

The black munao is a required identifying costume element and must remain clearly visible.


--- Tags ---
#TouhouProject #Touhou #SanaeKochiya #YoumuKonpaku #ToyosatomiminoMiko #MononobenoFuto #SoganoTojiko #Gensokyo #FanArt #TouhouFanArt #AIArt #AnimeArt #FantasyArt #JapaneseFantasy #DarkFantasy #Mystical #Supernatural #AncientSanctuary #SpiritMausoleum #MysticTemple #Magic #Swordwoman #ShrineMaiden #Ghost #Spirit #BattleScene #FinalBattle #BossBattle #FemaleCharacters #AnimeGirls #GroupIllustration #KeyVisual #GameArt #RPGArt #1990sAnimeStyle #RetroAnime #ShojoFantasy #CelShading #VerticalIllustration #DramaticLighting #FantasyWorld #EpicConfrontation

Thursday, June 13, 2024

Serious cyber incidence: Nico Nico Douga system down

 

The whole system down of Dwango Co,. Ltd. & Kadokawa group is a serious incidence especially in Japanese network. All the websites and the whole network server of Japanese video posting sites Nico Nico Douga (the potential competitor of YouTube) is completely down, and the recovery will take at least 1 month plus. This cyber incidence should be considered as a national cricis of Japan as Nobuhiro Tsuzi, the outsourced agent of the cyber security department of Japanese police, and Hiroyuki Nishimura, one of the initial founders, say. The vulnerability of Japanese server centre and the cyber security is questioned. Also, the shut-down of Nico Nico Douga causes the significant loss of the opportunity for the market competition and the entertainment creators. There are also various resources of BGM and pictures shared among many creators including YouTubers are stored in Nico Nico sites. Mr Tsuzi and Mr Nishimura, one of the initial founders, suspect it will take more and this cyber incidence is considerably serious.

 

Friday, April 26, 2024

Example of a badly performing stock exchange price in TOPIX


This stock exchange price is one of those which are registered in Tokyo Stock Exchange (TSE) market.

The TOPIX stands for the Tokyo Price Index of this market.

While exchanging the stocks, investors refer to the index of the average stock exchange price of a particular market they belong to such as the TOPIX for this company. 

The passive trading aims at modestly keeping the profit by buying and selling those stocks more or less following the index by referring to the index price.

The active trading aims at aggressively increasing the profit by buying and selling those stocks outperforming the index. 

Those stocks registered in the prime market usually follows the price movement of the index. 

However, since this month, this company's stock price has started deviating from the counterpart of the TOPIX, and it is substantially underperforming. 

The majority passive traders will be very likely to omit this company's stock from their fund portfolio.

It is an opposite phenomenon from what active traders usually expect for unless they expect for the stock price returning to the index. 

 

In addition, we must also focus on the international market. 

The aforementioned price is based on the value based on Japanese Yen (JPY).

This means that the price plunge is much steeper in terms of the international market where they are traded with other than JPY.

 


This is the JPY price index compared to the major other currencies all together.

In this half year, JPY has already been substantially plunging. 

Some high-profile investors have purchased a massive amount of Japanese company stocks while the price dropped as though it were a bargain-sale for them.

In contrast, this particular company stock mentioned here does not seemed to be favoured by these investors.

These high-profile investors' action is so influential that it usually reflects the index performance too. 

Moreover, these investors also carefully refer to the fundamental of companies such as their executives' management skill, the potential of these companies' products, and the expected return of their profit. 

This price depreciation seems to imply the deteriorating fundamentals overall. 

This is why it is important to compare with the market index a particular firm belongs to.

 

Tuesday, March 05, 2024

The mysterious Japanese macroeconomic factor: The national debt per GDP is 251.93%!

 

... well, Japanese national debt percentage of GDP is over 200%! This is one of the mysterious Japanese macroeconomic factors.
One of the reason is that approximately 90% or more of Japanese national bond holders are Japanese nationals. This is why the government can keep these bond holders even with a substantially low interest rate. The hidden cost of this policy is incurred upon Japanese economy because the government is hardly able to raise the interest rate even during the inflationary period.
 
Furthermore, the value of Japanese national bond is so stable that the capital loss risk is low. Because there is still a regular coupon payment (the income gain) with the low capital loss risk at the moment, the majority private banks in Japan keep holding the national bond as the secure asset. The majority Japanese citizens are so risk-averse that they hardly split their saving to private investment: Then, the private bank simply shift their saving account money to the national bond purchase. Although the coupon payment is not so high, the risk premium is still lower than any private bond for the moment. Their risk-averse personality is one of the strong drive of stabilising the national bond price. 
Nevertheless, it is sceptical to assume this mechanism can keep going on. Japanese economy has been stagnated for multiple decades since the last economic bubble burst in 1990s. Nowadays, Japanese economic indices show that Japanese economic strength is even weaker than before. In addition, the entire macroeconomic strength will keep going down due to the ongoing ageing population combined with the constant substantial population decline.

 

Tuesday, August 30, 2022

Low-tech firms should rather adopt the public cloud!

Many small and medium companies as well as public institutes of the local authorities tend to be reluctant to adopt an advanced information technological (IT) apparatus such as the public cloud service due to their cost concern as well as their conservative characteristics. They tend to assume that they will not take an advantage of the large scale of economies offered by the public cloud service. However, these firms are actually those which will take a considerably high benefit of using the public cloud service. It is explained with the example of using Amazon Web Service (AWS).
 
The first issue is the version update including the cyber security. The average cost of the version update is heavier for smaller firms so that it is actually more cost efficient to rely on one unified provider. AWS updates their versions of the physical machines as well as the cyber security measures adapted to the latest requirements for the most recent environment for their entire global network. Furthermore, some of the security package, such as AWS Shield, come as the standard package.

 
The second issue is the maintenance of the physical apparatus in their on-premises environment. These small companies and relatively IT illiterate local authorities tend to often neglect properly looking after their on-premises environment and maintaining its durability. Moreover, they tend to be more prone to natural disasters striking their place. All in all, they had rather better locate their electrical data while implementing their cross regional redundancy of the entire database in case of a disaster and a cyber security threat.
 
Regarding their data management, AWS offers various types of database (DB) depending on conditions and usages. Amazon Dynamo DB handles non-structured data with a large volume so that electrifying the information is flexible to query and store. Amazon Aurora is autoscalable across the multi-regions so that the data redundancy is guaranteed in case of various disasters and the access overflow undermining the data-handling capability.
 
If they are worried about moving their data at once, AWS offers the data migration services such as AWS Snowball and AWS Snowmobile (called AWS Snow-family overall). These offer the option of outsourcing the entire data migration from their on-premises to AWS server network. Perhaps, these small and medium companies as well as the local authorities had better migrate the entire data and maybe the entire IT configuration to the public cloud in order to cut their expenditure for their IT staff as well as their physical space and apparatus.
 
There are still many individuals worried about the privacy and the countermeasure against the data leakage. Nevertheless, storing data in their nondurable vulnerable on-premises environment seems to be far riskier than outsourcing the database and the storage to the public cloud vendor. In addition, the scalablity and the redundancy across the regions enable to flexibly link and query the data across various places at any time available. Therefore, it is also expected to improve their administrative efficiency too.
 
 

Friday, August 26, 2022

The AWS IoT architectural plan for manufacturering companies

 

While working for various manufacturing industry, it is often wondering whether their administrative processes can be more efficient. They had better adopt the internet of things (IoT) and the cloud data management. These manufacturers and their retailers should take an advantage of the currently available public cloud technology as the means of the digital transformation (DX) which national governments frequently put emphasis on nowadays.
 
There are still many manually carried out tasks in a manufacturing business. There are too many repetitive input and output processes which can be reduced by sharing the database via the globally connected public cloud network. Furthermore, by applying the artificial intelligence (AI) and the statistical inferences using the shared database, it will instantly optimise balancing the available supply of production and stock and the demand from the purchase order.
 
Let’s examine the possibility of the IoT tool for the manufacturing industrial DX with reference to Amazon Web Service (AWS), the public cloud infrastructure provider accounting for the largest public cloud market share at 33%. The whole company group across regional and even national borders can share the same Amazon Elastic Computer Cloud (EC2) and various types of databases such as Amazon Relational Database Service (RDS) for structured data and Amazon Dynamo DB for non-structured data inside the AWS network. In addition, various advanced technologies for gathering streaming data, big data analysis, and the artificial intelligence (AI) based deep learning are available.
 
Sharing EC2 enables all the members across the borders to access applications and data installed into the shared platform inside the public cloud infrastructure. This prevents the repetitive processes of forwarding data between the departments by logging in from each location. Vendors outside the company group can also directly access the platform within the restriction by the information privacy. Moreover, the risk of causing the security hole of the entire network can be mitigated under the unified cyber security tool and various firewalls already prepared by the AWS instead of expecting all the departments to look after under their own responsibility.
 
Please kindly refer to this architectural map to read the following parts.
 
Amazon Kinesis can collect the real time streaming data from a factory to send this data to the IoT device set. This IoT devices prepared in the public cloud enable to control and monitor the production line and the storage conditions by simultaneously referring to both the external and the internal data timely delivered to the production site. There is also the correlational data-analysis estimating the potential influence over the storage volume and the quality control in advance. Thus, this is expected to prevent some critical supply management errors such as mismatching the recorded data and the actual data.
 
The information related to the product supply is then forwarded to the database. The database also simultaneously collects the purchase order data processed the retail management side. Then, AWS Lambda analyses these simultaneously collected data to send to the AI module called Amazon SageMaker offering the deep-learning analysis of various factors. Instead of allocating the costly human resources for bridging between the production site and the customer side, this automated data-link is expected to instantly match the supply requirements with the timely demand requirements without the conventional time-consuming negotiation.
 
Amazon SageMaker, the AI module, connected with the big data of the business is expected to enable this manufacturing business to optimise both demand and supply simultaneously at an instant pace. The production supply and its logistics can be optimised by referring to the customer demand trends and the exogenous factors influencing the supply quantity and quality.
 
These simultaneous data analyses can instantly offer the timely business management reports by using the database specialising in the graph presentation with some analytic footnotes such as Amazon Neptune and Amazon Redshift. This automated process can eliminate the conventional repetitive manual workloads. Moreover, it helps their management decision process with a fast objective report purely based on the mechanical data analysis because this new reporting system prevents the human bias and errors.
 
Regarding the customer relation, the manufacturer may directly contact to and deal with their customers via their own retailing website which can be directly connected to the entire supply management system equipped with the IoT devices and the big data analytics. They may no longer need their retail specialist agents negotiating between the manufacturer and their customers. All the conventional middle-men jobs are automatically carried out within the entire public cloud architectural mechanism with little humans’ help.
 
This autoscaling mechanism of the public cloud can instantly adjust the customer service costs depending on the real time demand volume. The conventional way relying on the contracted retailers requires to keep paying the agent fee regardless of the sales shortage. Furthermore, this conventional way cannot catch up with the suddenly but temporarily increasing sales volume. The human retailers are unable to be scaled up/down instantly like machines. By contrast, this new system is literally the machine base with the excellent scalability! Therefore, there is neither excess nor shortage of the product supply volume regardless of any demand level on spot.
 
Overall, this public cloud provision is efficient by means of not only time-wise but also cost-wise. It reduces the reliance on humans’ intuition requiring the long-term experience as well as the complex human relationship easily causing some corruption issues.

Wednesday, August 10, 2022

Anxiety

 Anxiety is haunting me, and also many others, nowadays. In particular, anxieties about the future prospect such as financial anxiety are the crucial problems. Unfortunately, it is certain that the material well-beings of majority individuals will continue declining. In terms of the economic analysis as well as the astrological analysis, the near future outlook looks very gloomy for certain. Thus, the world society will furthermore require us to be stoic rather than being optimistic.

Focusing on the economic analysis, the market multiplier is slowing down despite the continuous remarkably rapid technological growth especially for the information technology. There is a strange dilemma in the labour market: There is a skilled labour shortage while misemployment and unemployment are considered to be high in the labour market. This labour market mismatch combined with the stagnating income and investment distribution flow discourages the social mobility as well as the income gaining opportunity of individuals wishing to improve their lifestyle.

Focusing on the astrological analysis, the world will be in the recession by 2024. Currently, Uranus is crossing the ascendant of Taurus, the detrimental sign of Uranus, until 2024 as well as forming the square aspect with Saturn crossing Aquarius, the own sign of Saturn for these years. This infers that the socioeconomic stagnation is really severe at least until 2025. Furthermore, Pluto is going to start crossing the ascendant of Aquarius for 18 years from 2023 onward. Aquarius represents equality of outcome and justice as well as individual freedom under restriction and some degree of traditionalism. Aquarius is forming the hard aspect with Taurus (Economy), Leo (Political Power), and Scorpio (Intimate relationship) so that the socio-economy will shift from the centralised active globalist form to the decentralised less active form.

Considering these two analyses, it will be wise to become stoic to keep our lifestyle as humble and cost-efficient as much as possible than aspiring to expect for a lucrative lifestyle in the coming age. Stoic ethics may become worth off to refer to as our life instruction guidance then. The modernity characterised with the intensive Yang (bright) element is ending so that the Ying (shadow) element is being intensified as the reaction. Instead of wanting more, we are more required to wanting less from now on. We must accept various pains as they are instead of regretting for them. We also must accept the fact that the capability of solving problems for all of us are limited by means of our physical strength, social status, and external environments. Therefore, there are various things outside our own responsibility so that it is important to excuse for our inability.

Sum up, the anxiety will never seem to disappear because the drastic lifestyle change will certainly take place in the near future. The antidote against this anxiety may be being stoic enough to keep our lifestyle humble and cost efficient as well as not bearing the full responsibility so that it is important to rely on the public support. Hence, we had better simply accept that it cannot be helped so much.

Monday, August 01, 2022

... Japan 日本 !

I have been criticising Japan since the beginning of this site establishment. This criticism of Japan is based on both the objective social scientific analyses as well as the subjective perspective based on my own life experiences. However, I have recently realised that the characteristics of Japan strongly and repeatedly accused seem to be originated from the political establishment explained in the recorded history. 

The Tenno regime has formed the totalitarian characteristics. This has based the highly stratified social structure transforming the majority citizens' personality to be subservient to their authority. The intensively cohesive social norms and values are definitely the derivatives of this stratified social structure. 

Even during the Shogunate periods from the 12th to the 19th century, this cohesive social structure thrived despite the relatively weaker influence of the aristocratic central authority. Yet, the subservient personality of the Japanese mass was hardly discouraged so that their loyalty to any authority was strong regardless of Tenno or Shogun. Perhaps, this unchangeable subservient personality was derived from the Japanese geographical isolation in the world where the enlightenment from the outside hardly reached there. 

Since the 19th century, Japan has adopted the Western style modern governance and capitalist economy. Some elites Japanese have successfully been enlightened to become progressive thinkers attempting to transform Japan to the modern nation state deserving the majority citizens. Nevertheless, the underlying characteristics and personality of Japanese people subservient to their authority has never changed. 

Even though some enlightenment ideal has been introduced, the true enlightenment for emancipating majority Japanese individuals from their superstitious loyalty and servile personality has hey never been achieved. This is the fundamental cause of perpetuating the political and social corruption hurting the Japanese majority mass as a suicidal attitude of themselves. It seems to have required much more fundamentally drastic reform in Japan to enlighten them.

There has been criticism by the social anthropological theory of this socially pathological trait is rooted in the establishment stage of the authoritarian figure shown in the recorded history. The original Japanese civilisation identity was originally related to the Shintoist shamanism which followed the tranquil communitarian paganism promoting more egalitarian and mutualist social norms and values.

There is certainly an attractive element in Japan and Japanese humans and their civilisation which has been retained since the prehistorical period. The prehistorical ancient Shintoist shamanism and pagan practices had brought up Japanese individuals as highly spirited enough to compassionately cohabit with neighbouring individuals and natural environments. Their virtuous characteristics such as diligence and humbleness must have been born out of this period. 

The authoritarian establishment introduced in the early historical record destroyed that prehistorical sacred pagan Japan. The social anthropological theory claims that the peaceful pagan tradition of the Japanese civilisation has been hijacked by the authoritarian oppressors. The subservient personality of the Japanese mass must be formed by that oppressive structuralist regime forcing the excess centralisation of politics and the unconditional subservience of the Japanese mass to these oppressive rulers. 

The Japanese indigenous individuals were conquered by the few numbers of arrogant nobles heavily influenced by the oppressive authoritarian totalitarianism. These oppressors hijacked Shinto by replacing the original peaceful egalitarian paganism with the oppressive authoritarian counterpart. Its indoctrination has imprinted the servile and intolerant personality into the Japanese mass. 

In order to overcome from the current distressful social crises, it is the time for Japan and Japanese to reincarnate the sacred spiritual prehistorical Japan! It is not worth to give up this attempt to fight back against the oppressive status-quo exploiting individuals with the millennium long indoctrination!


Sunday, July 31, 2022

The alternative required for replacing the current dysfunctional world socioeconomics

The current entire world is a full of mess. This should be no longer called the functional order.  This is the disorder perpetuating various social diseases and social exclusion of majority individuals.  In terms of economic, political, and sociological perspectives, this world socioeconomic situation is undoubtedly dysfunctional enough to need an alternative replacing the current socioeconomic structure. Please kindly read the linked articles:

Economic issues:

Domination by Corporatism,The New Totalitarian

http://art-blue-liberalism.blogspot.com/2017/04/domination-by-corporatismthe-new.html

Monopoly of Corporatism Expands in Present Day Capitalism: Average Cost shifts Rightward

http://art-blue-liberalism.blogspot.com/2018/03/monopoly-of-corporatism-expands-in.html 

Let's be sceptical about Corporate Capitalism!

http://art-blue-liberalism.blogspot.com/2022/06/lets-revolt-against-corporate-capitalism.html

The current market economy is monopolised by the elite corporate tycoons. Even though the status-quo claims for the equality of opportunity to compete under meritocratic ethics, the income distribution mechanism has already become too asymmetric to merely rely on the labour market competition. Therefore, some degree of the equality of outcome for all the individual is required to accomplish the equality of opportunity more than ever.

Political issues:

Democracy of the modern world under challenge

http://art-blue-liberalism.blogspot.com/2022/07/democracy-of-modern-world-under.html

The Good Communism: Anarch-Syndicalism

http://art-blue-liberalism.blogspot.com/2022/07/the-good-communism-anarch-syndicalism.html

The Japanese Anarchist Communism

http://art-blue-liberalism.blogspot.com/2022/07/the-japanese-anarchist-communism.html

Crypto currencies based on the Block-chain technology e.g., BItcoin and the P2P networking are like Stirnerism in economy and finance!
http://art-blue-liberalism.blogspot.com/2022/06/crypto-currencies-based-on-block-chain.html

 

The decision making process is centralised more than ever. The nation state government no longer deserve their individual citizens. Not only the authoritarian political structure but also the counterpart called the Liberal-Democracy put priority on the interests of the few number of the politically powerful peers not allowing to reflect the opinion of the majority individuals.  By referring to the P2P (Peer To Peer) system, it might be far more effective to install the spontaneous order based on the multiple interactions of individuals without any centralised structure. The spirit of the participation will encourage these autonomous individuals to voluntarily improve their living standard by taking advantage of the remarkably developed information technology. 

Social issues:

Suicide and Community

http://art-blue-liberalism.blogspot.com/2021/11/suicide-and-community.html

Tolerating Uselessness

http://art-blue-liberalism.blogspot.com/2022/05/tolerating-uselessness.html

Manifesto Spiritual Libertarian - the Libertarian for the coming age of Ying 陰

http://art-blue-liberalism.blogspot.com/2022/06/manifesto-spiritual-libertarian.html

The polarisation between the ruling class and the useless class rises in the society of the entire world. Those who are not "conforming" of producing the enough productivity fulfilling the interests of the ruling class are often socially excluded. As the factors of production demand individuals with conforming skills and talents more and more, more individuals tend to be labelled as "useless". so that their meaning of living is taken away and eventually falling into the state of the Anomie (normlessness). It is the time to rebel against the fixed norms and values imposed by the ruling class to emancipate individuals and their spirit to imagine and eventually form the new alternative liberating the autonomous individuals!

Thursday, July 28, 2022

The Possiblility of the Deposit Blockage in Japan

Do you remember that I said "Japan will face the hyper inflation in the future"? Well, this statement is becoming more real than ever nowadays. The actually high inflation which the government and the Bank of Japan (BoJ) seem to manipulate to make the announced inflation rate lower than. 

The high price inflation together with the substantially low central bank interest rate, the Japanese Yen (JPY) value has steadily been plunging since the first quarter of this year 2022 in the Foreign Exchange (FX) market.  This will eventually depreciates the value of the Japanese sovereign bonds (government debts) in the international financial market. 

The major holders of Japanese sovereign bonds are the BoJ and the major private banks in Japan. When the bond value goes down, the portfolio of these Japanese private banks will be depreciated. Combining the poor business performance of Japanese banks with the JPY value plunge, the havoc of their depositors attempting to withdraw their JPY amount from their saving account. 

Following this logics, it is quite plausible that the deposit blockage will be likely to take place. This is why some economists have already forecasted the considerable Japanese economic downfall as well as the reasonably high possibility of these banks blocking these saving account from their money withdrawal.  

Perhaps, they might not block their customers' account but may face bankruptcy, the recapitalisation by government, or furthermore annexations to a bigger private bank. This infers the risk of relying on saving income in the JPY saving account and holding the assets with their value based on JPY in the near future. The real value of JPY is steadily falling so it is wise to start splitting the risk from now on. 



Monday, July 25, 2022

Japan The End (Friendly investment advice)

 Many immigrant workers are now leaving Japan because of the current income decline on the top of the excessively hard-working environment. As a matter of fact, Thai wage is so higher than Japanese counterpart that it is not beneficial for these South-Eastern Asians to pay various high costs for their relocation to Japan. This phenomenon represents the end of Japan as an economic power house.

As having mentioned by means of the astrological analysis, Japan will be transformed to be something like the one in the Edo period during the coming two decades. This means that Japan will be furthermore socio-economically and culturally isolated from the rest of the world. The currently ongoing phenomenon caused by the economic power decline can be see as the prelude of the end of Japan!

As having mentioned several times, the Japanese government are reluctant to implement any countermeasure against Japan's socio-economic collapse at all. Well, this is also the responsibility of Japanese nationals electing the same incompetent government perpetuating the multiple decade long recession. These Japanese national citizens are also reluctant to rationally evaluate their own political actions.

It is obvious that Japan will shift to the further decline of its economic and cultural initiative in the world. Because of the declining fertility rate and the reluctance of both the government and the general public for investment to education, the human capital development will be considerably slowed down.This will lead to the further productivity plunging. 

 Moreover, the current Japanese situation also deteriorates its best advantage of seducing consumption and investment which is the service industry. Japan used to be a popular foreign tourist destination because of its once high service quality of its hospitality businesses. By contrast, the declining motivation of Japanese citizens for their daily life as well as business has started to be discouraged.

Only the tradition left in Japan is its highly bureaucratic culture. These Japanese citizens are still loyal to their bureaucratic order even with its notorious inflexibility. The quality of their consistency in office works, factory lines, and corruption prevention in both private and public sector administration will remain as its little left virtue. However, it guarantees that Japan will become a more boring and inflexible place to live for majority autonomic individuals due to the very tight margin of deviation from its rigid social norms and values.

The level of creativity is dropping down in Japan. As seen in the current trend of the subcultural products such as its animation and gaming industries, the brand-new products attracting audiences with a fresh impression is slumping. Instead, most of the well sold products are those of the remakes of the old series whose original ones were created last century. 

Then, it is ostensible to recognise that Japan is not a feasible place to invest your precious financial resources even it has recently become cheaper to buy the assets there due to the current Japanese Yen (JPY) depreciation. The aggregate productivity of Japan will plunge furthermore especially due to the human capital decline. 

The best option to purchase the Japanese assets will be investing to only those which are merged or annexed to the multinational firm. The foreign executives are much more competent to replace the irrational endogenous policies and mentalities of Japanese firms. In addition, majority Japanese are subservient to their authorities regardless of their ethnic origin so that they follow the reformed management policies implemented by these multinational shareholders. Combining the rational management by foreign executives and shareholders and the loyal labour-force is an attractive characteristic for investors.

Only the legitimate and productive purpose of living in Japan for foreigners is having a Japanese significant other i.e., a spouse, a loving partner, a concubine, etc. Japanese tend to have their day-dreaming nostalgic image in foreign worlds and often seek the foreign DNA of these individuals coming from abroad. Therefore, even under the socioeconomic deprivation, living in Japan for these foreigners with a Japanese significant other might enjoy their stay in Japan because their significant other and her/his family and relatives will protect you somehow even in a socioeconomic hardship. 

Overall, it is already Japan the end, and its beginning has already taken place. There will be no such once a major economic superpower nation state called Japan: The remaining there is the empty shell of its unproductive inflexible bureaucratic structure and the hopeless mobs simply as the remnants of this ethnicity barely nesting this archipelago. Because of the coming decades of the macroeconomic winter, the aggregate investment volume in the world is likely to fall so that there will not be enough investment flowing into Japan. Nobody will not notice Japan's existence, the remote edge of the world which only the few will show their interest in the existence of, any more.

Monday, July 18, 2022

The Unlimited Capital Growth Model

 Is there any enough for the capital investment? Many tend to assume there is a cap on the economic development when the capital quantity exceeds a certain proportion to the labour quantity because it simply becomes too much for the scale of this economy. The problem is that this assumption is often used as an excuse for government and banks for neglecting their responsibility of slowing the economy. It is important to evaluate whether there is a certain limit of economic development or there is an unlimited potential for economic development.

As a matter of fact, the developing countries have succeeded in emerging with a remarkably high production growth significantly faster than the developed countries. It is ostensible that these developing countries lack the physical capital required for improving their living standard which is visible to decide where the future capital investment is necessary. Therefore, there is always a motivation for citizens and foreign asset management firms to expect a high growth potential to invest there. 

By contrast, the developed countries look already sufficient with the physical capital. The recession is often understood as the sign of excess supply of the production compared to its demand and the maximum capacity of the economic development. Therefore, it is often judged as a good opportunity to cut down the unnecessary capital invested to economy even through individual citizens suffer from the depression caused by their income growth stagnation and job loss. 

There are three macroeconomic theories of the productivity growth model, the Neoclassical economic exogenous growth model based on the fixed production of physical capital and labour, the endogenous growth model based on the human capital development, and the growth model of the New Economic Geography (NEG) economics. There is an innovative model combining the exogenous growth model and the endogenous growth model together as shown in the graph. The NEG economic growth model involves the demand side effect on the top of the supply-side effect explained in this article so that it is complex enough to need another separate article to explain. (Please kindly read already posted articles in this blog)

The productivity growth based on the labour and the physical capital is dependent on the exogenous factor such as the technological growth and the outside investments. The government do not need a complex analysis of finding their need of expenditure for the public work projects because their lack of physical stuff is visible. The private banks tend to be willing to voluntarily invest there because their investment return for the filling physical capital shortage. The productivity growth speed is faster at the low capital ratio to the human labour counterpart while it gradually diminishes as it is reaching towards the certain optimum proportion of the physical capital investment required for the human habitant population.

By contrast, the human individuals are not the mere labouring workforce working with the fixed manual for operating the physical capital such as machineries, auto-mobiles, and offices. These human labour workforces are actually the human capital contributing to the furthermore productivity growth on the top of the physical capital. Economy is composed of not only physical goods produced by the hardware i.e. the physical capital but also the complex value-added goods and various services provided by humans such as catering, computer engineering, consulting, and sales. Knowledge and experience are strongly tied up with their productivity levels and contingent to the other human workers to copy. Moreover, the combination of existing products to invest a new product is infinite. 

In particular nowadays, the ability level of taking an advantage of the information technology (IT) is a notably significant factor for improving the productivity level. For example, the IT service products such as the software and the cloud services are made of the computer programming codes. Their production efficiency cannot be measured by the classical economic model because it is highly dependent on a human individual's skill and experience. Furthermore, the manufacturing businesses are shifting towards the internet of things (IoT) so that the IT becomes the key of optimising the production processes with the programmed automation and the production flow optimisation. Therefore, knowledge and experience of each human individual has become the critical factor of the production growth.

With comparison to the emerging phase of the economic growth backed up by the physical capital growth, the productivity growth based on the human capital growth is slow. On the other hand, the counterpart with a certain limit to the productivity growth. The key factor of accelerating the human capital growth model is the education level because human individuals need a certain level of intelligence and adaptability to obtain new knowledge and experience. 

The return from investing to education takes long to capture while there is little or no short-term financial gain. This is why private banks are reluctant to invest there. This is why it requires the public sector investment to stimulate the educational development. Furthermore, adult individuals had better have the access to the safety net while leaving a job for joining the future education or a job training for a certain period. Otherwise, the currently ongoing socioeconomic problem will be considerably challenging. 

Employers should not underestimate the contribution potential of employees. Many employers still tend to treat their employees as expendable and replaceable as the simple labour force by ignoring their potential to become the human capital. Their knowledge and skills gained through their job experience are precious enough to be a long-term asset of this firm. Their human resource management should consider their payment for their employees as not only the wage cost but also the investment to the human capital.

In conclusion, considering the unlimited productivity growth potential, there needs to be a continuous stimulus to an economy to solve the socioeconomic problem. The income stagnation as well as the employment issues including both unemployment and misemployment because of the perpetuated economic growth stagnation in many developed countries. Hence, individual citizens should not be fooled by the excuse of their negligence perpetuating the socioeconomic problems.