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Masaaki Yuasa

Masaaki Yuasa (湯浅 政明) is a Japanese director, screenwriter, and animator affiliated with Science SARU, a Japanese animation studio which he co-founded with producer Eunyoung Choi in 2013. Yuasa previously served as president of Science SARU, but stepped down from this role in 2020. Recognized for his idiosyncratic art style and directorial voice, Yuasa began his career as an animator on the landmark television series Chibi Maruko-chan (1990–1992) and Crayon Shin-chan (1992–present), before moving into directing with the feature film Mind Game (2004) and developing a cult appeal following.

Yuasa spent much of the 2000s and early 2010s working in television directing, helming a trio of series, Kemonozume (2006), Kaiba (2008), and The Tatami Galaxy (2010), before releasing the crowdfunded short film Kick-Heart (2013). During the production of Kick-Heart, Choi proposed the establishment of Science SARU, and the resultant works created at the studio, combined with increased international distribution, led to mainstream breakout successes in the 2010s and saw Yuasa rise to prominence as one of Japan's foremost independent creators. At Science SARU, Yuasa focused on directing both television and feature film productions, starting with an episode of the American animated series Adventure Time (2014), and continuing with Ping Pong the Animation (2014), Night Is Short, Walk On Girl (2017), Lu Over the Wall (2017), Devilman Crybaby (2018), Ride Your Wave (2019), Super Shiro (2019), Keep Your Hands Off Eizouken! (2020), Japan Sinks: 2020 (2020), and Inu-Oh (2021).

Yuasa's productions have won international critical acclaim, receiving awards from Annecy, the Japan Academy Film Prize, the Mainichi Film Awards,  and the Japan Media Arts Festival. In recognition of his collective career accomplishments, he has been recognized by the Japanese government and received the Medal of Honor with Purple Ribbon, as well as the Agency for Cultural Affairs' Cabinet Minister Award for Media Fine Arts.

Yuasa's latest project is the musical drama feature film Inu-Oh, which premiered at the Venice International Film Festival in September 2021 and was released worldwide in August 2022.

Early life
Masaaki Yuasa was born on March 16, 1965, in Fukuoka, Japan. As a child, Yuasa liked animation, and as early as his kindergarten years found he could entertain classmates with his drawings. When Yuasa was in his first year of junior high school and thinking it was time to move away from anime and manga, Space Battleship Yamato The Movie was released in 1977, triggering a huge anime boom in Japan, followed in 1979 by the simultaneous release of Hayao Miyazaki's Lupin III: The Castle of Cagliostro, Osamu Dezaki's Aim for the Ace! The Movie and Rintaro's Galaxy Express 999 The Movie and several other films. He decided to pursue a career in the manga/anime industry, encouraged by public opinion (whether it was true or not), including newspaper and television reports that Japanese animation can withstand adult viewing. He had no idea about the animation industry and initially thought about becoming a manga artist. However, when he saw animators being treated like stars as creators in a succession of new animation magazines, he decided he wanted to become an animator. He then studied design in high school and majored in oil painting at the art department of Kyushu Sangyo University. During his college years, Yuasa worried he would not be able to make a living as an animator, but continued to study television animation as it aired and familiarize himself with animators whose personal styles resonated with him.

Influences
In his youth, Yuasa was initially drawn to the television animation series Mazinger Z (1972–1974) and Space Battleship Yamato (1974–1975). A crucial influence which led Yuasa to work in the industry was Hayao Miyazaki's landmark feature film debut Lupin III: The Castle of Cagliostro (1979). In the 1980s, Yuasa began to focus on the study of individual animators, namely Takashi Nakamura and his work on Golden Warrior Gold Lightan (1981–1982). He also studied international animation, with particular influences being the works of Tex Avery, the British film Yellow Submarine (1968), The King and the Mockingbird (1980) by French filmmaker Paul Grimault, and Glen Keane's animation work on the climactic fight sequence in The Fox and the Hound (1981). Some of his other favorite animations include Unico in the Island of Magic (1983), Wicked City (1987), Aim for the Ace! (1979), Galaxy Express 999 (1979), Mazinger Z vs. The Great General of Darkness (1974), Fantastic Planet (1973), Pinocchio (1940), Sing (2016), Night on the Galactic Railroad (1985), How to Train Your Dragon (2010), The Wrong Trousers (1994), Gamba no Bouken (1972), Future Boy Conan (1978), Tensai Bakabon (1970), Lupin the 3rd Part I: The Classic Adventures (1971-1972), Tom and Jerry, Heidi, Girl of the Alps (1974), Doraemon: Nobita's Great Adventure into the Underworld (1984), The Man Who Planted Trees (1987), Hedgehog in the Fog (1975), 3000 Leagues in Search of Mother (1976), Anne of Green Gables (1979), The Gutsy Frog (1972-1974), Doraemon: The Records of Nobita, Spaceblazer (1981), Kumo to Tulip (1943), The Animal Neighborhood Community (1941). Outside of animation, Yuasa was also influenced by the art of Salvador Dalí.

Yuasa described his process of inspiration:

"I get inspired with a lot of things I see, hear, smell, and touch in everyday life... I often derive inspiration even from really modest visuals; a commercial, a cut from a movie, a movement from an anime as well as nameless flowers and grasses blooming on the road, clouds, stars, and moons in the sky. I’m also inspired with what I’m currently interested in and feeling. My humble wish for creating anime is to have common images, conversations, and scenes sublimed into art works."

Beginnings as an animator
Upon graduation, Yuasa sought work by consulting recruitment advertisements published in the animation magazine Animage. After answering an advertisement posted by Ajia-do, he was hired by the studio as an in between animator. Yuasa initially struggled and came to believe he lacked talent and therefore had no future in the business. After an illness, he contemplated quitting, but lacking a good opportunity to actually do so, he continued on. A key turning point in his perception of his artistic skills came during his transition from drawing in between animation, which requires clean, uniform lifework that is consistent from artist to artist, to drawing key animation, which establishes the key poses of motion and are more reflective of the individual sensibilities of movement of each artist. Yuasa's natural drawing style was fast, intuitive, and rough; it lacked the fine lines emphasized for inbetweening. As a result, when Yuasa became a key animator, he was able to utilize his rougher line style for greater personal expression and began to make a name for himself. During this time, Yuasa also received encouragement and advice from Ajia-do's co-founder Osamu Kobayashi, a veteran animator with decades of experience. Kobayashi told Yuasa that he could not consider himself a master of animation unless he utilized abstract drawings as part of his movement; though these individual frames are not distinguishable in the blur of completed motion, they subconsciously influence viewer perception of the motion and the scene as a whole. The advice synchronized with Yuasa's own study of international animation techniques, and increasingly, he integrated them into his work. Yuasa was also advised by another co-founder of Ajia-do, animator and director Tsutomu Shibayama, who served as a mentor and gave him formative artistic guidance.

Yuasa earned his first significant credits as a key animator in 1990 on the landmark television series Chibi Maruko-chan (1990–1992), which Ajia-do worked on as a subcontractor studio. Based on a popular manga, Chibi Maruko-chan was a major hit and provided opportunities for Yuasa to refine his skills. His next breakthrough came with the film Chibi Maruko-chan: My Favorite Song (1992), on which he was entrusted with two musical sequences. Yuasa storyboarded the sequences, the first time he'd taken on this responsibility, and was able to animate them in his own characteristic style; he later identified these segments as the first time that appreciation of his work by fellow artists led him to view his own work as good.

In 1992, the next major step in Yuasa's animation career occurred when he joined the production team of the long-running and immensely popular series Crayon Shin-chan (1992–present). Consisting of a television series, numerous television specials, and annual theatrical film releases, the Crayon Shin-chan franchise quickly became a massive undertaking with continuous work and production opportunities. Working under the guidance of supervising director Mitsuru Hongo, Yuasa took on a variety of roles within the franchise's many television and film productions, including key animation, storyboarding, set and background design, prop and vehicle design, and contribution of story concepts and ideas. Yuasa quickly became a specialist at imagining, designing, and animating the inventive visual climaxes of the annual Crayon Shin-chan films, a practice he continued for nearly a decade. It was during his work on Crayon Shin-chan that Yuasa at last found enjoyment in his artistic work, as well as his first desire to become a director. That same year, Yuasa had his first chance to direct with an episode of the original video animation (OVA) series Anime Rakugo Kan (1992). Yuasa directed the third episode of the series, entitled The Squash Seller. Stylistically, the episode reflected Yuasa's admiration for the animation created by Kobayashi and Shimoyama earlier in their careers, and thus had a different visual aesthetic than Yuasa's later works. More than just an homage, the episode reflected a continuation of Yuasa's personal artistry; though he initially thought he would develop a completely different style, in the end, he incorporated elements of Kobayashi and Shimoyama's animation into his own.

1994 saw two significant developments in Yuasa's animation career: leaving Ajia-do to become a freelance animator, and participating as an animation director on the fourth episode of the landmark OVA series The Hakkenden: A New Saga (1993–1995). Based on the epic historical novel Nansō Satomi Hakkenden (1814–1842) and animated in a serious, realistic style, The Hakkenden was a unique challenge to Yuasa, who until that point had worked on comedic works with a loose, free-flowing visual aesthetic. This resulted in initial mistrust of Yuasa by the production team at AIC, the studio responsible for the series. However, Yuasa had been invited to join the production by episode director and maverick animator Shinya Ohira, who after seeing his work on Crayon Shin-chan sought him out and placed him in a position of responsibility for overseeing the animation on his episode of the series, entitled Hamaji’s Resurrection. Although the production was chaotic due to a compressed schedule which did not allow sufficient time for ensuring the visual coherence traditionally prized in animation, the result was a distinctive episode with an emphasis on realism, moving camera techniques, and expressive attention to small character acting details. As a result of this work, Ohira collaborated with Yuasa on subsequent productions. Hamaji's Resurrection generated considerable conversation within Japan's animation industry, was cited as one of the most important Japanese animated productions of the 1990s, and described as a masterpiece of Japanese animation.

Following the success of Hamaji's Resurrection, Yuasa continued working as a freelance animator for the remainder of the 1990s, including work on the Studio Ghibli feature film My Neighbors the Yamadas (1999). This freelance work brought additional early directorial and supervisory opportunities. These included the television pilot film Vampiyan Kids (1999), which Yuasa directed and storyboarded; the short film Slime Adventures: Yay, the Sea! (1999), based on the popular Dragon Quest franchise, which Yuasa directed; and the acclaimed short film Cat Soup (2001), on which he served as screenwriter and animation producer. Cat Soup was a critical success, winning an Excellence Award for animation at the Japan Media Arts Festival. The Cat Soup project in particular served as a springboard for Yuasa to move fully into the directorial phase of his career.

Move to directing and Mind Game
Yuasa's opportunity to move into feature film directing came when Eiko Tanaka, the co-founder and CEO of Studio 4°C, requested Yuasa adapt the Robin Nishi manga Mind Game. Although the manga was little-known by the general public, several prominent staff members of Studio 4 °C were passionate about the title, and studio co-founder Kōji Morimoto had previously introduced Yuasa to the series. Yuasa felt the material suited him and agreed to direct the project. The production utilized an experimental visual sensibility, incorporating a variety of illustrated styles and including the use of live-action footage. Yuasa was inspired to make use of this combination of styles in order to preserve the feeling of the original manga, which was drawn in a rough, visual-gag style. In Yuasa's words, "I wanted it to look as though we hadn’t worked very hard on it, though of course we had." Although the film's story stuck closely to that of the original manga, Yuasa made one significant change: he altered the ending to be more positive for all of the characters, not only the protagonist. The intent of this change would be reflected in Yuasa's future works: a desire to create positive stories, where passionate action results in the culmination of dreams and desires.

Produced on a small budget, the making of Mind Game took two years and nine months from planning to completion. The production was also Yuasa's first project with frequent artistic collaborator Nobutake Ito, who was tasked with animating the film's climactic sequence; Ito would subsequently serve as a character designer and animation director on many of Yuasa's later projects. Mind Game was released in 2004 but did not achieve commercial success; following the release of the film, Yuasa struggled to find producers who would support him. However, Mind Game went on to become a cult hit and achieved widespread global critical acclaim, winning the Mainichi Film Awards' Ōfuji Noburō Award, the Japan Media Arts Festival Grand Prize for Animation, and the Fantasia International Film Festival awards for Best Film, Director, Screenplay, and Visual Accomplishment, as well as the Audience Award for Best Animated Film. Upon the film's eventual release in the United States, Mind Game achieved a 100% rating on the review aggregator Rotten Tomatoes.

Television directing at Madhouse
Following the release of Mind Game, Yuasa's next directorial opportunity came when Masao Maruyama, the co-founder of Madhouse, provided a unique chance. Maruyama, who over his decades in the business had developed a reputation for making animated projects that no other producer would consider, offered Yuasa the chance to direct television series' at Madhouse. Moreover, Maruyama used his power as a veteran producer to push the television networks to take risks, allowing Yuasa creative freedom and the opportunity to make precisely the sort of content that he wanted to make. The first of these projects was the original horror romance series Kemonozume (2006), which Yuasa created, directed, and wrote. The production marked a significant development in Yuasa's career, as it resulted in him meeting a key collaborator: South Korean artist Eunyoung Choi, who had recently moved to Japan to become an animator. Choi's work on Kemonozume as a key animator and episode animation director won praise from fellow animators and fans, and led to her participation in Yuasa's subsequent projects. Kemonozume was awarded a Jury Selection Prize at the Japan Media Arts Festival, continuing Yuasa's run of critical successes.

Before beginning his next project at Madhouse, Yuasa briefly returned to Studio 4 °C to direct a short film for the studio's anthology project Genius Party (2007). The film, entitled Happy Machine, centered on an infant's travels through a mysterious and dangerous world. Produced with a small crew of just four key animators, Happy Machine represented a continuation of the development of Yuasa's surreal visual style, winning acclaim both for its atmospheric sense of wonderment, and for Yuasa himself as a leader of Japan's experimental animation scene.

The following year Yuasa helmed his next television production at Madhouse, the original sci-fi drama series Kaiba (2008), which he created, directed, and wrote. The project saw an expansion of the collaboration with Eunyoung Choi, who directed and storyboarded episodes of the series, as well as co-writing an episode with Yuasa. A narratively-ambitious series dealing with memory, identity, and societal inequality, Kaiba received an Excellence Award at the Japan Media Arts Festival, and earned positive critical attention for its dreamlike visuals and imaginative story, with particular focus on the emotional impact generated from combining childlike imagery with mature themes and at times devastating loss.

In 2010, Yuasa completed his third and final television series at Madhouse, the absurdist psychological dramedy The Tatami Galaxy (2010). Adapted from a novel by Tomihiko Morimi, the series follows the misadventures of a nameless student who, via supernatural means, repeatedly relives his final year at college in an attempt to achieve his idealized conceptions of romance and happiness. After being approached with the opportunity to adapt the novel, Yuasa quickly saw the story's appeal and agreed, though the project presented challenges in transferring the witty, dialogue-intensive style of the original work into a visual medium. To capture the appeal of the novel, Yuasa emphasized the use of rapid-fire editing and fast-paced dialogue, in order to convey the protagonist's stream of consciousness narration. Unlike the earlier Kemonozume and Kaiba, which aired on the satellite television network WOWOW, The Tatami Galaxy was broadcast on national television via Fuji TV's Noitamina programming block. The broadcasting deal with Fuji TV marked the start of an ongoing relationship with producer Kōji Yamamoto, who served as the chief producer of Noitamina before leaving to found his own development company Twin Engine; this relationship would cover the release of several later projects over the following decade. The Tatami Galaxy was an immediate critical success, winning both the Japan Media Arts Festival Grand Prize for Animation, as well as the Award for Outstanding Television Animation at the Tokyo Anime Awards Festival. As the first of Yuasa's projects to receive a streaming release in North America, the series helped increase awareness of his work globally, and was subsequently named one of the best Japanese animated series of the decade.

Following the completion of The Tatami Galaxy, Madhouse was acquired by the broadcasting media conglomerate NTV. The studio's corporate culture underwent change, and Madhouse's creative head Masao Maruyama left to found a new production company. Yuasa once again sought opportunities with other studios, including briefly joining the production of the A-1 Pictures film Welcome to the Space Show (2010), for which he directed and animated a short sequence. He also directed the short series Shin-men (2010–2012), a group of special episodes embedded within the main Crayon Shin-chan television series.

Collaboration, crowdfunding, and the founding of Science SARU
Yuasa took advantage of the conclusion of his work at Madhouse to reunite with collaborator Eunyoung Choi, who had left Madhouse after working on The Tatami Galaxy to lead Ankama Japan, a Japan-based subsidiary of the French entertainment and animation company Ankama. The newly opened studio combined techniques of traditional hand-drawn animation with digital animation created via Adobe Animate and other programs, a new approach which Yuasa had not previously used. The studio was not only an international business enterprise, but a creative one as well, with 25 European animators working in the Tokyo-based studio. In a reversal of their prior roles, Yuasa joined a project which Choi had organized, an episode of the company's Wakfu animated series entitled Noximilien the Watchmaker (2010); Choi directed the episode, while Yuasa served as character designer. Shortly after completion of the episode, the 2011 Tōhoku earthquake and tsunami occurred and Ankama closed the Japan studio. However, the experience at Ankama Japan, which mixed an international animation crew with a production method utilizing both traditional and digital animation, served as a model for Yuasa and Choi's later studio, Science SARU.

Yuasa and Choi continued their collaboration on their next project, the crowdfunded short film Kick-Heart (2013), which Yuasa directed and wrote, and for which Choi served as assistant director. An unlikely love story revolving around a masochistic male wrestler and his sadistic female opponent, the film was produced at Production I.G and was the first large-scale Japanese animated project to be successfully crowdfunded on Kickstarter, raising over $200,000 from more than 3,200 backers worldwide. The film received a pair of unannounced surprise screenings on Cartoon Network's Toonami programming block which achieved viewer ratings of 708,000 and 618,000, and earned positive reviews for its colorful visual storytelling. Kick-Heart was an official competition selection at Annecy, was awarded a Jury Selection Prize at the Japan Media Arts Festival, and won the prize for Best Animated Short Film at the Fantasia Festival.

During the production of Kick-Heart, Choi proposed establishing a studio with Yuasa. In February 2013, the new company was established under the name Science SARU. Yuasa and Choi settled on the name, which translates into English as "Science Monkey", in an attempt to combine both an international, technological focus (the 'Science' portion of the name, rendered in English), with a Japanese, traditional animation identity (the 'SARU' portion, rendered in Japanese). Additionally, Yuasa, who frequently drew himself as a monkey in self-portraits, wanted the studio to be smarter than an ape; as a result, he added the word Science in front of SARU with the intent of having a company that possesses both instinct and intelligence. The studio's first production location was a small suburban house converted into an impromptu workspace; by the end of 2013, the company had expanded to a staff of five.

Early works at Science SARU
Yuasa's new studio began its corporate activities by taking on subcontracting work, as well as by collaborating with other companies. Science SARU's first project was an episode of the American television series Adventure Time; the episode, entitled Food Chain (2014), was directed by Yuasa, co-directed by Choi, and produced entirely in-house. Food Chain received critical acclaim as one of the best episodes of the series,  was an official competition selection at Annecy, and was nominated for the Annie Award for Outstanding Television Direction.

Later the same year, Yuasa returned to television series direction with an adaptation of Taiyō Matsumoto's sports manga Ping Pong the Animation (2014). In addition to directing the series, Yuasa wrote and storyboarded all of the episodes. Science SARU provided 'digitally assisted' animation production services, while Tatsunoko Production served as the primary studio. The series also reunited Yuasa with his old animation collaborator Shinya Ohira, who contributed the opening credits sequence. A major critical success, the series was highlighted as one of the best Japanese animated series of the decade. Ping Pong the Animation was awarded a Jury Selection Prize at the Japan Media Arts Festival, and won the Grand Prize for Television Animation at the Tokyo Anime Awards Festival; additionally, character designer and longtime collaborator Nobutake Ito won the Best Animator award for individual achievement.

Yuasa finished 2014 by directing an episode of the BONES television series Space Dandy (2014). The episode, entitled "Slow and Steady Wins the Race, Baby", was jointly produced by BONES and Science SARU and received critical acclaim.

Return to feature films
By early 2016, Science SARU had gained experience and was ready to undertake large-scale projects. The studio's first feature film production, the family-friendly fantasy film Lu Over the Wall (2017), was produced in less than 16 months using 'digitally assisted' animation techniques. Yuasa directed and co-wrote Lu Over the Wall; it was his first feature film with an original story. The film features the importance of self-expression as a central theme; Yuasa emphasized this aspect of the story in hopes of encouraging young people in Japan, who he felt were often not able to express their true feelings and emotions. Yuasa also decided to focus this project on a family audience out of a desire to return to the sensibility of his earlier works as an animator, including Crayon Shin-chan and Chibi Maruko-chan.

During the production of Lu Over the Wall, Yuasa was offered the opportunity to produce a second feature film, the comedy romance The Night Is Short, Walk On Girl (2017), based on the novel by Tomihiko Morimi. The offer served as a unique chance for Yuasa, who had previously hoped to adapt the novel in 2010 after the completion of The Tatami Galaxy, but due to circumstances at the time was unable to. When he was given another chance in 2016, he immediately agreed and made use of the preparatory work he had done when initially offered the project. The film reunited a majority of the key creative staff who had worked on The Tatami Galaxy, with the story serving both as a spiritual successor and as a parallel narrative to the earlier series. The timing of the project resulted in the pre-production work on The Night is Short, Walk On Girl overlapping with the post-production of Lu Over the Wall. Although Lu Over the Wall was completed first, it was released after The Night is Short, Walk On Girl; this was in part due to a marketing suggestion that it might be preferable for the studio's first film to be based on a pre-existing property familiar to Japanese audiences.

Both Lu Over the Wall and The Night is Short, Walk On Girl received immediate critical acclaim. Lu Over the Wall received the Annecy Cristal du long métrage, the Mainichi Film Awards' Ōfuji Noburō Award, and the Japan Media Arts Festival Grand Prize for Animation. The Night is Short, Walk On Girl was awarded the Japan Academy Film Prize for Animation of the Year, the Ottawa International Animation Festival Grand Prize for Best Animated Feature, a Jury Selection Prize at the Japan Media Arts Festival, and has been listed as one of the best Japanese animated films of the decade.

International recognition
In 2018, Yuasa achieved widespread international recognition following the release of his prior feature film works, as well as the debut of a landmark new series. The beginning of the year saw Mind Game, Lu Over the Wall, and The Night is Short, Walk On Girl licensed for North American release by acclaimed animation distributor GKIDS. However, even more important for Yuasa's international prominence was the release of the Netflix series Devilman crybaby (2018), based on the manga by Go Nagai. Yuasa had been a fan of the original manga since childhood, but had never dreamed he would have the opportunity to adapt it. Among his key creative decisions in adapting the story were to depict the sexual and violent content in an unrestricted way that was not possible when the manga was initially published, and to update the juvenile delinquent characters of the original as young rappers who use music to speak their minds freely. Devilman crybaby was an immediate and massive international hit; with 90% of its viewers outside Japan, the series achieved the largest global audience for both Yuasa and Science SARU to that date. The series inspired internet memes, was profiled by YouTuber PewDiePie, and was widely discussed on Twitter. The series was nominated in 7 categories at the Crunchyroll Anime Awards and won for Anime of the Year and Director of the Year, was awarded a Jury Selection Prize at the Japan Media Arts Festival, was cited by Vulture as containing one of the 100 most influential sequences in global animation history, and was listed as one of the best Japanese animated series of the decade.

In 2019, Yuasa directed his next feature film, the romance Ride Your Wave (2019). An original story, the film centers on an unlikely couple who are able to come together despite heartbreak, and deals with meditative themes of loss. Despite the success of Lu Over the Wall, following completion of that film, Yuasa grappled with the same lack of confidence in his work that had marked his earlier career. He felt that depicting a story with two characters who lacked self-confidence, but were able to overcome this and other obstacles by accepting risk and riding the metaphorical waves of life, would be meaningful to both audiences and himself. Ride Your Wave received worldwide critical acclaim. The film was an official competition selection at Annecy, was nominated for the Mainichi Film Award for Best Animation Film, was nominated for Annie Awards in the categories of Best Indie Feature and Outstanding Feature Film Direction, received a Jury Selection Prize at the Japan Media Arts Festival, and won Best Animated Feature Film awards at the Shanghai International Film Festival, Fantasia International Film Festival, and Sitges Film Festival.

Also in 2019, Yuasa served as director of the series Super Shiro (2019–2020), an installment of the popular Crayon Shin-chan franchise. Yuasa collaborated on directorial duties with veteran animator Tomohisa Shimoyama, who made his directorial debut with the series. The project, animated at Science SARU and produced in association with main Crayon Shin-chan studio Shin-Ei Animation, served as a culmination of Yuasa's long and enduring association with Crayon Shin-chan which dated back to his years as an animator. The series was distributed via streaming and broadcast in Japan and throughout the Asia-Pacific region, excluding China. The end of the year saw the 2010s heralded as Masaaki Yuasa's "breakout decade"; collectively, Devilman crybaby and the release of Yuasa's films in the United States led to him being acknowledged as one of the most important and exciting directors in animation.

In 2020, Yuasa directed the comedy television series Keep Your Hands Off Eizouken! (2020), based on the manga by Sumito Ōwara. The series revolves around three high school girls who create animation as passionate amateurs. Prior to the project being proposed, Yuasa had discovered the manga after seeing comments from fans online suggesting that he adapt the title. The production encouraged members of the Science SARU staff, including Yuasa, to share their own experiences about creating animation, all of which added to the story. The series boosted sales of the original manga, inspired internet memes, and won the Japanese Broadcast Critics Association's monthly Galaxy Award during its broadcast run. Following the conclusion of the broadcast, Keep Your Hands Off Eizouken! received critical acclaim as one of the best Japanese animated series of both the season that it aired and the year as a whole,     and was recognized by The New York Times and The New Yorker as one of the best television series of 2020. The series was nominated in 10 categories at the Crunchyroll Anime Awards and won for Director of the Year and Best Animation, was awarded the Grand Prize for Television Animation at the Tokyo Anime Awards Festival, and received the Japan Media Arts Festival Grand Prize for Animation.

Later that year, Science SARU produced the Netflix series Japan Sinks: 2020 (2020), based on the disaster novel by Sakyo Komatsu. Yuasa directed in conjunction with Pyeon-Gang Ho, who made her directorial debut with the series. The project represented a unique challenge for Science SARU in that it depicted serious subject matter in a more realistic style. Central to Yuasa's conception of the series were the immediacy of focus on a single family amid national catastrophe, as well as the idea of societal reincarnation, where the process of breaking and rebuilding can yield something better than what came before. The series attracted criticism within Japan for its condemnation of Japanese nationalism, but also received positive attention for its multiculturalism and inclusiveness, and was named as one of the best anime series of 2020. The first episode of the series was awarded the Annecy Jury Prize for a Television Series, and the series as a whole received two nominations at the Crunchyroll Anime Awards. A film compilation version of the series was subsequently released in Japanese theaters in November 2020, and was awarded a Jury Selection Prize at the Japan Media Arts Festival.

On March 25, 2020, Yuasa stepped down as president and representative director of Science SARU. He cited his desire to take a break from directing after seven years of continuous work, but reaffirmed his commitment to completing additional projects with Science SARU in the future. Eunyoung Choi subsequently became CEO and president of the studio. She likewise affirmed Yuasa's continued involvement with the studio as a creator. Yuasa spoke further about his planned break from directing in September 2021, stating that he was "taking a break to study" during his time away from active production.

In early 2021, Yuasa was recognized by the Japanese government's Agency for Cultural Affairs, which awarded him the Cabinet Minister Award for Media Fine Arts for his career achievements. Yuasa thanked the creative collaborators, artistic staff, and cast members of his works, saying that they shared jointly in the honor. Later that year, Yuasa was further recognized with the Medal of Honor with Purple Ribbon by the Japanese government in recognition of his distinguished contributions to artistic and cultural development.

Yuasa's latest project is the musical drama Inu-Oh (2021), based on the novel by Hideo Furukawa. Set in 14th Century Japan, the story centers on a blind musician and a Noh actor afflicted by a terrible curse; Yuasa's goals with the film were to portray both characters as historical equivalents of modern-day pop stars, and to utilize the themes of the narrative to highlight people marginalized by society. The film features character designs by Ping Pong creator Taiyō Matsumoto, is produced by Science SARU, and was licensed for North American theatrical and home-video distribution by GKIDS. The film made its world premiere at the Venice International Film Festival in September 2021, and a worldwide theatrical release followed in August 2022. Inu-Oh earned Yuasa the best reviews of his career and achieved universal critical acclaim during its international film festival run. The film won the Best Animated Feature Film award at the Fantasia International Film Festival, the Bucheon International Animation Festival's Special Distinction Prize for an International Feature Film, and was nominated for the Golden Globe Award for Best Animated Feature Film.

Works

 * Anime Rakugo Kan - Episode 3 (1992)
 * Slime Adventures: Yay, the Sea! (1999)
 * Vampiyan Kids - TV Pilot (1999)
 * Mind Game (2004)
 * Kemonozume (2006)
 * Genius Party: Happy Machine (2007)
 * Kaiba (2008)
 * The Tatami Galaxy (2010)
 * Shin-men (2010–2012)
 * Kick-Heart (2013)
 * Space Dandy - Episode 16: Slow and Steady Wins the Race, Baby (2014)
 * Ping Pong The Animation (2014)
 * The Night is Short, Walk on Girl (2017)
 * Lu Over the Wall (2017)
 * Devilman Crybaby (2018)
 * Ride Your Wave (2019)
 * Super Shiro (2019–20)
 * Keep Your Hands Off Eizouken! (2020)
 * Japan Sinks: 2020 (2020)
 * Japan Sinks: 2020 Theatrical Edition (2020)
 * Inu-Oh (2021)

Themes and creative sensibilities
Yuasa's works have been described as emphasizing love, kindness, and acceptance. The importance of communication, self-expression, and the ability to reveal one's true feelings are themes that Yuasa has repeatedly expressed and highlighted as central to his works. Yuasa feels a particular affinity for intensely-felt love stories; in portrayals of sex and eroticism, he seeks to visualize the emotions his characters are experiencing, and to understand how their desires would be expressed. In depicting emotions, Yuasa's intent is to maintain realism and authenticity, but the visuals through which the emotions are represented can be expressionistic; moreover, it is Yuasa's view that characters who move freely and unrestrained by strict realism can express a greater and more faithful range of emotionality. Transformation is also a central and recurring motif, whether utilized for the frightening body horror of Kemonozume and Devilman: crybaby, the visualization of life cycles in Food Chain, the unexpected transformation of a dog into a superhero of Super Shiro, the magical shapeshifting of Lu Over the Wall, or the societal renewal of Japan Sinks: 2020. Yuasa's male protagonists have been described as quintessentially aimless, hapless, and afraid to communicate honestly, but who are able to find their voice over the course of the story. While female characters in his earlier works received some criticism for not being as well developed, Yuasa's later works have received recognition for strong, independent female protagonists who are neither defined nor restricted by gender assumptions. Generational issues are also presented in Yuasa's works, with a recurring theme of young people utilizing acceptance and positivity to help the older generation overcome fears that have caused pain and discrimination in the past. A representative and humanistic identification with people marginalized by society, whether due to race, disability, gender identity, sexuality, or other reasons, runs throughout Yuasa's work. In telling a story, Yuasa has noted that he hopes to give the audience freedom to feel a variety of different ways about the work. He does not see it as his place to tell viewers how they must feel, but rather to maintain a space between his intent and the audience's interpretation that allows for individual impressions of meaning.

With regard to Yuasa's views on the Japanese animation industry, Yuasa has expressed a desire to move away from a culture of excessive work and long hours which have traditionally been endemic to the business, and to instead focus on practices which more closely resemble those utilized in American and European animation. As a result, Science SARU has modeled itself on these ideas, with emphasis on providing rest, taking time off, and maintaining regular working hours. It is Yuasa's opinion that, in order for Japanese animation to achieve true global success, the industry must itself create a better work environment for its artists and creators. Yuasa has also noted the importance of preserving traditional animation, noting that if the industry does not continuously show how wonderful traditional animation can be, the pressure to switch to computer animation will result in it being supplanted.

Awards and acclaim
Masaaki Yuasa's works have achieved significant acclaim both in Japan and throughout the world. Projects which Yuasa has directed, or for which he has served as a chief creative collaborator, have been recognized by the Annecy International Animated Film Festival (2 wins, 3 nominations),    the Japan Academy Film Prize Association (1 win), the Golden Globe Awards (1 nomination), the Mainichi Film Awards (2 wins, 1 nomination),   the Japan Media Arts Festival (4 wins, 2 excellence awards, 7 jury selections),             the Tokyo Anime Awards (4 wins),   the Crunchyroll Anime Awards (4 wins, 16 nominations),  the Ottawa International Animation Festival (1 win, 1 nomination), the Shanghai International Film Festival (1 win, 1 nomination) the Sitges Film Festival (1 win, 3 nominations), the Fantasia International Film Festival (3 wins, 1 silver, 1 bronze),   the Satellite Awards (1 nomination), and the Annie Awards (3 nominations). Additionally, Yuasa has been recognized by the Japanese government, receiving the Agency for Cultural Affairs' Cabinet Minister Award for Media Fine Arts, and the Medal of Honor with Purple Ribbon for his career accomplishments.

title: Masaaki Yuasa


text:
SS Lane Victory

SS Lane Victory is an American Victory-class cargo ship used in World War II, the Korean War and Vietnam War. The ship was preserved in 1989 to serve as a museum ship in the San Pedro area of Los Angeles, California. As a rare surviving Victory ship, she was designated a U.S. National Historic Landmark.

SS Lane Victory was named after Lane College, which was established as a high school for black youths in 1882 at Jackson, Tennessee, by Isaac Lane, a bishop of the Colored Methodist Episcopal Church in America.

World War II
Lane Victory was built in Los Angeles by the California Shipbuilding Corporation and launched on May 31, 1945. On her first voyage, June 27, 1945, Lane Victory carried war supplies in the Pacific. The War Shipping Administration gave the operations of the ship to the American President Lines. United States Merchant Mariners operated the ship. The United States Navy Armed Guard, who manned the ship's guns, worked as signalmen and radiomen. She made two Pacific cruises, beginning July 10, 1945, to Manus Island, and the second starting August 30, 1945, to Guam, Saipan and Hawaii. The trip to Guam was to bring food to the island. On the way Lane Victory sailed through a typhoon and was tossed around for 14 days. On February 27, 1946, her second voyage ended. With the end of World War II, she started shipping aid. In March 1946 she started delivering goods to Europe under the Marshall Plan. With the end of the aid plan, on May 11, 1948 Lane Victory was laid up at Suisun Bay, California.

Korean War
In 1950 Lane Victory was taken out of storage and by October 1950 was back in service. She was then deployed to evacuate Korean civilians and United Nations personnel at Wonsan, North Korea. During December 1950 she evacuated over 3,800 U.S. troops and 1,100 vehicles from Hungnam while under attack during the Battle of Chosin Reservoir. Lane Victory offloaded troops, vehicles and cargo as the cruiser USS Saint Paul (CA-73) and destroyers laid down a covering fire. After unloading she evacuated 7,010 men, women and children, taking them south to safety. When the ship arrived 7,011 passengers disembarked, as a baby had been born during the voyage. On October 10, 1953, she was laid up in Suisun Bay, California, storage. An annual Korean War tribute day is held aboard SS Lane Victory in honor of those saved.

Vietnam War
In 1966 the ship was restored to duty again for the Vietnam War. She also saw duty during the conflict moving ammunition and supplies to and from the war zone in Vietnam. On April 29, 1970 Lane Victory was laid up again at Suisun Bay for storage in the National Defense Reserve Fleet.

During her three-war career, she traveled through the Far East Pacific, made a few transatlantic crossings and one circumnavigation of the globe.

Post-war
Because of the ship's excellent condition in storage at Suisun Bay, the Maritime Administration decided to set aside Lane Victory for preservation. President Ronald Reagan signed into law H.R. 2032 on October 18, 1988, which turned over the ship to the United States Merchant Marine Veterans of World War II. Joe Vernick, John Smith and a group of Merchant Marine veterans had worked for years for the ship to be released from the Reserve Fleet.

Volunteers from the United States Merchant Marine Veterans of World War II worked for three years to restore the ship to working condition after she had sat, slowly deteriorating, in Suisun Bay for nearly two decades. Many upgrades were performed in order to bring Lane Victory up to Coast Guard standards. She was drydocked in 1992, and her hull was found to be sound. On September 10, 1992, her sea trials started and proved her seaworthy.

In May 1994 Lane Victory sailed south along the Baja Peninsula with the intention of joining the Liberty ship SS Jeremiah O'Brien on the 50th Anniversary of D-Day in France. On May 2, 1994, she passed the Sailing Vessel Blythe Spirit about 500 feet off the starboard side according to the day log of S/V Blythe Spirit. This encounter was just north of Cabo San Lucas. Before reaching the Panama Canal the Lane Victory had engine problems that prevented it from going across the Atlantic Ocean in time to arrive for the D-Day Anniversary. It was reported on the Maritime Mobile Service Net later in May that the Victory Ship had chosen to return after repairs were completed to a California port to await the return of the Jeremiah O'Brien.

In June 1994 Lane Victory participated in a mock Normandy invasion in the Santa Barbara Channel in celebration of the 50th anniversary of D-Day. In September 1994 she escorted the Liberty ship SS Jeremiah O'Brien from San Pedro to San Francisco in celebration of Jeremiah O'Brien's return from her voyage to Normandy.

On October 9, 2007, SS Lane Victory received a Special Heritage Award from the World Ship Trust in San Diego.

She serves as a training facility for the Los Angeles County Fire Department, Los Angeles City Fire Department, local law enforcement agencies, FBI, the U.S. Coast Guard and other United States Armed Forces.
 * Of the 534 Victory-class cargo ships completed, only three remain working – SS Lane Victory at Los Angeles, SS American Victory at Tampa, Florida, and SS Red Oak Victory (AK-235) at Richmond, California.

Museum ship
After her 1988 acquisition by the U.S. Merchant Marine Veterans of World War II, Lane Victory was towed to the Port of Los Angeles in San Pedro on June 12, 1989. She was turned into a museum and work ship again. In 1990 Lane Victory was designated a National Historic Landmark. A volunteer crew maintain and operate the ship and her two onboard museums. On September 13, 2000, Congress passed Resolution 327, recognizing SS Lane Victory as a representative of the service and sacrifices of the U.S. Merchant Marine to the nation during times of conflict: "Whereas vessels of the United States merchant marine fleet, such as the S.S. LANE VICTORY, provided critical logistical support to the Armed Forces by carrying equipment, supplies, and personnel necessary to maintain war efforts"

In February 2012 she moved from Berth 94 in Los Angeles Harbor by the Vincent Thomas Bridge to Berth 46 in Los Angeles Harbor at the end of Harbor Boulevard-Miner Street, south of the bridge. She was reopened to the public on February 17, 2012. She was moved, again, to Berth 49 in early 2013 as Berth 46 was being converted into a future super cruise ship dock.

Usage in Hollywood
Lane Victory has been used in a number of movies, TV shows and commercials because of her excellent working condition. The ship's wakes were used in the 1997 blockbuster movie Titanic for the titular ocean liner's wakes. She also served as the setting for the climax of the comedy film The Pest the same year. Other films in which the ship appeared are: Black Ops (Deadwater) (2008), Flags of Our Fathers (2006), GI Jane (1997), Pearl Harbor (2001), The Thin Red Line (1998), U-571 (2000)  and Twin Sitters (1994) (note: this is a partial list)

The ship was featured in Visiting... with Huell Howser Episode 406.

Some TV shows she was featured in are: Alias, Baywatch, California Gold, Mail Call (episode #70), MacGyver, Murder She Wrote, the National Geographic Channel, NCIS, Port Chicago Mutiny (TV movie), Return of the Pirates (History Channel), Special Ops Mission and Unsolved Mysteries. In the Season 6 King of the Hill episode "Returning Japanese: Part 2" (2002), Cotton is sent back to the U.S. aboard Lane Victory. The History Channel series Mail Call episode 6/04, "Lane Victory", was an hour long episode about the ship and the World War II Merchant Marine,. (note: this is a partial list)

In 1999, the ship was used in a Ford Super Duty commercial and Disney's "Golden Dreams" commercial. (note: this is a partial list)

The engine housed in Lane Victory's forward hold exhibit space was used as the engine for the fictitious gunboat USS San Pablo in The Sand Pebbles (1966).

Awards
Lane Victory earned one ribbon for World War II service, two for Korean War service – United Nations Korea Medal & Republic of Korea Presidential Unit Citation – and one for Vietnam War service.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: SS Lane Victory


text:
User:Jeevandsouza

Jeevan D'Souza is cool

title: User:Jeevandsouza


text:
Kaiso

Kaiso is a type of music popular in Trinidad and Tobago, and other countries, especially of the Caribbean, such as Grenada, Belize, Barbados, St. Lucia and Dominica, which originated in West Africa particularly among the Efik and Ibibio people of Nigeria, and later evolved into calypso music.

Kaiso music has its origins in West Africa (particularly in present-day Nigeria) and in the Kingdom of Kongo and was brought over by the enslaved Africans, who (in the early history of the art form) used it to sing about their masters. The people would also gather in "kaiso" tents where a griot or lead singer would lead them in song. Many early kaisos were sung in French Creole by an individual called a chantwell. Kaiso songs are generally narrative in form and often have a cleverly concealed political subtext. Kaiso performers are known as kaisonians.

In Barbados, kaiso refers to a form of stage-presented calypso, such as at the crop over festival.

Terminology
The term kaiso is said to derive from an Ibibio/Efik word meaning "get on" used as an exclamation, such as "Bravo!", "Let us join". It can also mean "Let us be friends" in Igbo Anambra dialect. Plus, in the Igbo language ka anyị sonye means "Let's join". The word is often used synonymously with calypso today, but often with the connotation that the former is more authentic, showing approval consistent with its original meaning. This word can also be found in an Igbo name. Kaisoluchukwu (Solu, Kaiso). Kaisoluchukwu means "Let's respect/follow God" in the Igbo language.

Ibibio and Igbo influence on the etymology
The Ibibio people/Igbo people and the origins of limbo and calypso. The enslaved Ibibios, Igbo and supposedly other slaves would gather, plant two poles on opposite ends, and place a bar across. They would take turns (individually) dancing and negotiating their bodies to go underneath the bar and exit on the opposite end without upsetting it, no matter how low the bar was. The accompanying chant used to egg on and lead the dancer to a successful exit went something like this: "kaiso, kaiso, kaiso" —– meaning "go forward, go ahead, more". The dance was later named limbo. Ka means go. Iso means forward. Kaiso therefore, means go forward in the Ibibio language of Southeastern Nigeria. The Ibibios and Igbo people who were kidnapped from the Niger Delta and Calabar, shipped across the vast Atlantic Ocean, and subsequently enslaved in the Caribbean islands of Trinidad and Tobago brought their music, language, and traditions with them. In slavery, their customs and traditions got interwoven into the larger slave culture of the area, but the word kaiso (go forward, go ahead, or more) survived. It later became the name of Trinidad and Tobago's most popular music. Kaiso evolved into calypso and that, too, evolved into soca music. The very fact that the word kaiso was common and accepted enough to be used for naming a dance or song suggests that the Ibibio and Igbo slave population of that area was strong and socially influential.

Calypso music
Calypso music was developed in Trinidad in the 17th century from the West African Kaiso and canboulay music brought by captive Africans imported to that Caribbean island to work on sugar plantations. These slaves, brought to toil on sugar plantations, were stripped of all connections to their homeland and family and not allowed to talk to each other. They used calypso to mock the slave masters and to communicate with each other. Many early calypsos were sung in French Creole by an individual called a griot. "Patois" or Trinidadian French Creole was the original language of the calypso music.

Kongo influence
That Kalinda and its accompanying drum rhythms were predominantly a Kongo input into Trinidad culture can be concluded from the significant number of Kongo names among remembered stickmen and popular stickyards and from the emotional involvement with stickfight culture of Kongo descendants interviewed in the 1970s in contrast with the attachment of Yoruba, Rada and Hausa descendants to religious ceremonies. The kalinda drum rhythm was transported almost bodily into Kaiso even without modification. This rhythm can also be heard in Calypso and Soca.

title: Kaiso


text:
Mafra, Santa Catarina

Mafra is a city located at the northern border of the state of Santa Catarina, Brazil. This city borders to the state of Paraná and its urban area is attached to the urban area of its interstate neighbour, Rio Negro. This city's population is composed primarily of descendants of European immigrants, especially from Germany (including Volga Germans) and Poland. This city is also known for its honey, which is said to have excellent quality.

title: Mafra, Santa Catarina


text:
User:Ilyanep/Account

Welcome!
Welcome to Wikipedia! I hope you like this place — I sure do — and want to stay. Before getting too in-depth, you may want to read about the simplified ruleset. If you need help on how to title new articles check out the naming conventions, and for help on formatting the pages visit the manual of style. If you need help look at Help and the FAQ, plus if you can't find your answer there, check the Village Pump (for Wikipedia related questions) or the Reference Desk (for general questions)! There's still more help at the Tutorial and Policy Library. Plus, don't forget to visit the Community Portal. And if you have any more questions after that, feel free to post them on my user talk page. ---

Register?
You may want to consider getting an account. There are many reasons for this, which are outlined below:

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For more details on all of these, you can read this.

Most of all, creating an account is free! If you are interested, go here. Leave me a note on my talk page afterwards if you want. ---

Additional tips
Here's some extra tips to help you get around in the 'pedia!
 * If you want to play around with your new Wiki skills the Sandbox is for you.
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Happy Wiki-ing.

title: User:Ilyanep/Account


text: File:Independence War 2 - EU box.jpg

title: File:Independence War 2 - EU box.jpg


text:
User talk:Leeroyjenkins

Welcome!
Hello, Leeroyjenkins, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

 * If you haven't already, drop by the new user log and tell others a bit about yourself.
 * Always sign your posts on talk pages with  so others will know who left which comments.
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 * How to edit a page and write a great article
 * The Wikipedia tutorial and picture tutorial
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 * And finally, remember to be bold in updating pages!

I hope you enjoy editing and being a Wikipedian. Although we all make mistakes, please keep in mind what Wikipedia is not. If you have any questions or concerns, don't hesitate to see the help pages or add a question to the village pump. The Community Portal can also be very useful.

Happy editing!

-- Sango  123  17:51, July 15, 2005 (UTC)

P.S. Feel free to leave a message on my talk page. :)

At least I have chicken
Image:Leeroy_card.jpgLEEEEEEEEEEEEEEEEEROY JENNNNNNNNNNNNNNNNKINS -- 'n1yaN t  06:24, 1 January 2008 (UTC)

title: User talk:Leeroyjenkins


text:
User talk:Robert M. Pendleton

Welcome!

Hello, and welcome to Wikipedia. Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! By the way, please be sure to sign your name on Talk and vote pages using four tildes (~~~~) to produce your name and the current date, or three tildes (~~~) for just your name. If you have any questions, see the help pages, add a question to the village pump or ask me on my Talk page. Again, welcome! Shimgray 17:52, 15 July 2005 (UTC)
 * How to edit a page
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 * If you're ready for the complete list of Wikipedia documentation, there's also Topical index.

title: User talk:Robert M. Pendleton


text:
Wikipedia:Articles for deletion/Gein gemekker

 This page is an archive of the proposed deletion of the article below. Further comments should be made on the appropriate discussion page (such as the article's talk page or on a Votes for Undeletion nomination). No further edits should be made to this page.

The result of the debate was delete. Eugene van der Pijll 21:31, 31 July 2005 (UTC)

Gein gemekker
Blatant vanity in Dutch. A rough translation: ''"Gein gemekker" is a group of friends that has existed for five years. They all come from Roermond. Their names are [list of names].'' Sietse 17:52, 15 July 2005 (UTC)
 * Delete vanity. Friday 17:55, 15 July 2005 (UTC)
 * Delete apparent vanity. Feydey 19:51, 15 July 2005 (UTC)
 * Delete vanity. --Etacar11 23:46, 15 July 2005 (UTC)
 * Delete as above. Jitse Niesen (talk) 18:18, 22 July 2005 (UTC)
 * Speedy delete as patent vanity. Aecis 16:19, 24 July 2005 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in an undeletion request). No further edits should be made to this page.


text: User talk:68.61.6.179

title: User talk:68.61.6.179


text:
Kollam district

Kollam district, (formerly Quilon district) is one of 14 districts of the state of Kerala, India. The district has a cross-section of Kerala's natural attributes; it is endowed with a long coastline, a major Laccadive Sea seaport and an inland lake (Ashtamudi Lake). The district has many water bodies. Kallada River is one among them, and land on the east bank of the river is East Kallada and that on the west bank is West Kallada.

Etymology
In 825 CE, the Malayalam calendar, or Kollavarsham, was created in Kollam at meetings held in the city. The present Malayalam calendar is said to have begun with the re-founding of the town, which was rebuilt after its destruction by fire.

The city was known as Koolam in Arabic, Coulão in Portuguese, and Desinganadu in ancient Tamil literature.

Overview
Kallada Boat race is one of the famous festival events of the district. Even though it is a competition between two land sides of the river, many boat clubs from various places, even beyond the district participate in the event. Kollam is known as the capital of Kerala's cashew industry. Plains, mountains, lakes, lagoons, and backwaters, forests, farmland and rivers make up the topography of the district. The area had trading relationships with Phoenicia and Ancient Rome.

Climate
Kollam's temperature is almost steady throughout the year. The average temperature ranges from 25 to 32 degrees Celsius. Summer usually runs from March until May; the monsoon begins by June and ends by September. Kollam receives an annual average rainfall of around 2700 mm.

It receives both southwest and northeast monsoons. Winter is from November to February; the temperature is moderately cool, ranging from 18 to 25 degrees Celsius.

Demographics
According to the 2011 census Kollam district has a population of 2,635,375, roughly equal to the nation of Kuwait or the US state of Nevada. This gives it a ranking of 155th in India (out of a total of 640 districts). The district has a population density of 1056 PD/sqkm. Its population growth rate over the decade 2001-2011 was 1.72 percent. Kollam has a sex ratio of 1113 females for every 1000 males. The total literacy rate of Kollam district was 94.09%. The male literacy rate was 96.09% and the female literacy rate was 92.31% in Kollam district. 45.05% of the population lives in urban areas. Scheduled Castes and Scheduled Tribes make up 12.46% and 0.41% of the population respectively.

Malayalam is the predominant language, spoken by 99.10% of the population. Small minorities of Tamil speakers live in Koovakkad village and bordering areas

Urban structure
The Kollam Urban Agglomeration (UA) is the 6th most populous UA in the state. Kollam is placed 49th in the list of most populous urban agglomerations in India. The total urban population of the entire district is 1,187,158. The metropolitan area of Kollam includes Adichanalloor, Adinad, Ayanivelikulangara, Chavara, Elampalloor, Eravipuram (part), Karunagappally, Kollam, Kundara, Kulasekharapuram, Mayyanad, Meenad, Nedumpana, Neendakara, Oachira, Panayam, Panmana, Paravur, Perinad, Poothakkulam, Thazhuthala, Thodiyoor, Thrikkadavoor, Thrikkaruva, Thrikkovilvattom, and Vadakkumthala.

Religion

Hinduism (64.42%) is practised by majority of the people in Kollam district of which Nair (32%) and Ezhava (30.5%) are the largest sub groups. Islam (19.3%) is the second largest religion. Kollam is the only district in Southern Kerala where Muslims outnumber Christians. Despite this Kollam has a significant Christian population too (16%) among this the Latin Catholics (26.1%), Syro-Malabar Catholics (19.7) and Jacobite Syrian Christians (15.8%) form the majority.

Largest cities & towns
*In 2015, the area of Kollam City Corporation increased by merging Thrikkadavoor panchayath.

Administration
The history of the district's administration can be traced back to 1835, when the Travancore state consisted of two revenue divisions with headquarters at Kollam and Kottayam. When Travancore and Cochin were combined into Travancore-Cochin, Kollam was one of the three revenue divisions. When the state of Kerala was formed in 1957, half portion of Chenkotta taluk was merged with the state of Madras. Later in 1957, the Cherthala, Ambalapuzha, Mavelikara, Karthikapalli, Chengannur and Thiruvalla taluks (formerly in Kollam district) were united to form the new district of Alappuzha. In 1983, Pathanamthitta taluk and Adoor taluk and seven villages of Kunnathur taluk were removed from Kollam district to form the new Pathanamthitta district.

Major Towns
The major towns in the district include:
 * Karunagapally taluk: Oachira, Karunagapally, Chavara, Thazhava, Kulashekharapuram, Thevalakara, Clappana
 * Kunnathoor taluk: Sooranad North, Sooranad South, Mynagappally, Kunnathoor, West Kallada, Sasthamkotta
 * Kollam taluk: Kollam, Mayyanad, Chathanoor, Paravoor, Kalluvathikkal, Kallambalam, East Kallada
 * Kottarakara taluk: Kottarakkara, Valakom, Mylam, Kulakkada, Chadayamangalam, Nilamel, Kadakkal
 * Pathanapuram taluk: Pathanapuram, Piravanthoor, Pattazhy
 * Punalur taluk: Anchal, Punalur, Thenmala, Aryankavu, Kulathupuzha

Police administration
Police administration in Kollam is divided into two districts: urban and rural. The City Police is headed by a City Police Commissioner, an IPS (Indian Police Service) officer with the rank of SP; its headquarters is at Kollam. The rural police is headed by the Rural Superintendent of Police (SP), with its headquarters at Kottarakkara. Both heads report to the Inspector General of Police (IGP), Thiruvananthapuram Range (Kerala).

The Kollam City Police is divided into three subdivisions, each under an Assistant Commissioner of Police (ACP): Karunagappally, Kollam and Chathannoor. Each subdivision is divided into circles, headed by the Circle Inspector of Police. Each circle is divided into a number of police stations, headed by a Sub-Inspector of Police. The Kollam Rural Police District is divided into two subdivisions, each under an Assistant Superintendent of Police (ASP)/ Deputy Superintendent of Police (DySP): Kottarakkara and Punalur. There are a total of 29 police stations, in 13 circles. Kollam city traffic is controlled by the City Traffic Police, with a Traffic Police Station located near the Asramam Ground. Kerala's first coastal police station was established in Neendakara, Kollam.

The first police museum in India-The Sardar Vallabhbhai Patel Police Museum has a large collection of police artefacts and rare photographs. The museum has a room dedicated to officers martyred in the line of duty. The forensic section has a large collection of photographs. The museum is located at the Kollam East Police Station.

Revenue Divisions{RDO}
Administratively Kollam District is composed of two Revenue Divisions, viz Kollam and Punalur with three Taluks each under them.

• 1) Kollam

• Kollam taluk

• Karunagapally taluk

• Kunnathur taluk

• 2) Punalur

• Punalur taluk

• Pathanapuram taluk

• Kottarakkara taluk

Taluks
Kollam is administratively divided into 6 taluks. They are Kollam, Karunagappally, Kunnathur, Kottarakkara, Punalur and Pathanapuram, which are subdivided into 104 villages. The tahsildar is the revenue official in charge of each taluk.

Municipalities
There are four municipalities in Kollam District. Punalur, Paravur, Karunagappally and Kottarakkara are the municipalities. There is a long-standing demand for upgrading Pathanapuram & Anchal panchayaths into municipal status.

Lok Sabha constituencies
Kollam district has three Lok Sabha (lower house) constituencies. They include the Chavara, Kundara, Eravipuram, Kollam, Chathannoor, Chadayamangalam and Punalur assembly constituencies. While the Kunnathur, Kottarakkara and Pathanapuram constituencies are in the Mavelikara Lok Sabha constituency, the Karunagapally assembly constituency is in the Alappuzha Lok Sabha constituency.

Road
Kollam is connected by bus and train service. It is also connected to neighbouring states by bus service operated by the Kerala State Road Transport Corporation (KSRTC) and Indian Railways. These are the KSRTC Depots & Sub Depots & Operating Centres (OC) in the district: • Kollam

• Chathannoor

• Karunagappally

• Ochira

• Punalur

• Kottarakkara

• Chadayamangalam

• Pathanapuram

• Sasthamkotta

• Aryankavu (OS)

• Kulathupuzha (OS)

The district is connected to other parts of Kerala and India through the National Highways – NH 66 (earlier NH 47), NH 183 (earlier NH 220), NH 744 (earlier NH 208). The state highway - Main Central Road (MC Road) and Punalur-Pathanamthitta-Muvattupuzha Main Eastern Highway — connects Kollam with other districts. Intrastate road transportation is served by the KSRTC, Tamil Nadu State Transport and Karnataka State Transport Companies. KSRTC Interstate bus service operates from the Kollam and Kottarakkara KSRTC bus stations. Kollam zone of KSRTC is now the second most revenue generating zone in Kerala.

Rail
Kollam Junction railway station (QLN) is the one and only rail head in the district. A total of 128 short & long-distance services (including weekly) and 10 services of MEMU are running through Kollam Junction railway station. A most modern MEMU maintenance shed is working in the railway station premises of Kollam city. In addition to that, there are some other major railway stations in the district namely Punalur (PUU), Karunagappalli (KPY), Paravur (PVU), Sasthamkotta (STKT), Kottarakara (KKZ) and Kundara (KUV). The district has a good railway network, with 25 stations and about 132 km of track. Kollam district boasts the record of having most numbers of railway stations in the state.

Trains from here connect the city of Kollam to major cities of India, including New Delhi, Bangalore, Chennai, Indore, Bhopal, Hyderabad, Thiruvananthapuram, Mumbai, Madurai, Vizag, Jammu, Howrah, Guwahati, Madgaon, Itarsi, Hubli, Ahmedabad, Kanyakumari, Gwalior, Nagpur, Pune, Kota, Bhubaneswar, Gorakhpur, Kochi, Kozhikode, Amritsar, Vijayawada, Coimbatore, Chandigarh and Mangalore. There are also passenger services running in Kollam–Thiruvananthapuram, Kollam–Ernakulam and Kollam–Punalur routes.

Water
The district is having a fairly good network of waterways. The State Water Transport Department operates boat services to West Kallada, Munroe Island and Alappuzha. Double decker luxury boats run between Kollam and Allepey daily. Luxury boats, operated by Government and private owners, operate from the main boat jetty during the tourist season. The west coast canal system, which starts from Thiruvananthapuram in the south and ends at Kanhangad in the north, passes through Paravur, the city of Kollam and Karunagappally taluk. The Thiruvananthapuram-Shornur canal, which forms a part of the Thiruvananthapuram-Hosdurg system, runs a distance of about 62 km. The other canal systems include the Paravur Kayal, Kollam Canal and Chavara canal. The waterways are popular attractions and scenic tourist destinations in the area. The Kerala State Water Transport Department (KSWTD) has an operating centre near the KSRTC bus stand. Tourists may hire motorised country boats and houseboats with amenities (Kettavulam in Malayalam) to cruise along the waterways.

Cashew industry
The cashew industry is centralised in this district. Kollam is approved by the central government as a "centre of cashew industry". Most workers in this industry are women; among them, a majority comes from the poorer sections of the society. There are several cashew-processing units in the district. The Kerala State Cashew Development Corporation Ltd., a Government of Kerala undertaking, has its headquarters in Kollam and serves as a model agency for the cashew-processing industry. The corporation has 30 cashew factories and employs more than 20,000 workers. Another government organisation in this field is CAPEX, which is part of the cooperative sector and has 10 cashew factories. Coir production, handloom industry, clay and wood-based industries contribute to the industrial health of the region.

Forests and wildlife
According to the Government of Kerala estimates 81438 ha of land is under forest cover, mainly in the eastern portion of the district (including the Thenmala, Punalur, and a portion of the Achencoil forest divisions). The Thenmala Range, Aryankavu Range, and Shendurney Wildlife Sanctuary comprise the Thenmala division and the Achencoil, Kallar, and Kanayar Ranges make up the Achencoil division. The Pathanapuram and Anchal Ranges constitute the Punalur division.

The Shendurney Wildlife Sanctuary, 66 km from Kollam, is situated on the southern part of the Western Ghats (8°50' and 8°55'N; 77°5'and 77°15'E) in the Punalur taluk of the district. The name "Shenduruny" is derived from the name of a tree species locally called "Shenkuruny" or "Chenkuruny" (Gluta travancorica), a tree mainly found in this area. An artificial lake of about 26 km2 has developed following the construction of a dam across the Kallada River. Remnants of Stone Age culture from a large cave situated at the northwestern part of the Shenduruny River were excavated from this sanctuary. These remains belong to the Mesolithic period.

This tropical rain forest has a wide variety of wildlife, and some endangered species are found here. Species found in the sanctuary include tiger, bonnet and lion-tailed macaques, Nilgiri langur, gaur (or Indian bison), sambar deer, muntjac (or barking deer), Indian spotted chevrotain (or mouse deer), wild boar, Indian elephant and different species of squirrels, such as the Indian giant and Indian palm squirrels.

Fishing
The western portion of Kollam is bordered by the Laccadive Sea. Kollam's coastline is 37.3 km, 6.3 percent of Kerala's total coastline. Neendakara and Sakthikulangara are important fishing villages. There are an estimated 26 villages whose livelihood depends entirely on fishing. Cheriazheekkal, Alappad, Pandarathuruthu, Puthenthura, Neendakara, Thangasseri, Eravipuram and Paravoor are among the prominent fishing villages. One-third of Kerala's fish production (including 60 percent of its prawn catch) is contributed by Kollam, whose average fish production is estimated at 5,275 tonnes. Nearly 3,000 mechanised boats operate out of its fishing harbour.

Tourism
Jadayu earth centre, Palaruvi Falls, Thenmala (forests and reservoir), the Agasthyamalai Biosphere Reserve, Ashtamudi (backwater) and beaches at Kollam, Thirumullavaram and Thangassery are scenic areas.

Ashramam Tourist Village is a well-known tourist destination in Kollam city; the tourist village is located on the banks of Ashtamudi Lake. Ashramam is a hub of tourism activities in Kollam, and the District Tourism Promotion Council (DTPC) office is located within the village.

The Asramam Maidan (Ashramam ground), adjacent to the tourist village, is the largest open space within a Kerala municipal corporation. It is used for events, sports, as a helipad, for Kollam Pooram and by driving schools. It covers over 60 acre in an oval. The first community tourism program in the state is being established on the Munroethuruth islands. Backwater tourism is an activity enjoyed in Kollam; Ashtamudi Lake, Paravur, Munroe Island, and Alumkadavu are the main backwater destinations. Accommodation is in resorts and on houseboats.

Thenmala, located 66 km east of Kollam, is the first ecotourism project in India and run by the Thenmala Ecotourism Promotion Society.

Kollam was the seat of the Desinganad kings. Kottarakara is well known as the place where a new version of the classical dance form of Kathakali was conceived. It was also the capital of the Elayidath Swaroopam. Kundara is known for the 1812 proclamation against the British by Velu Thampi Dalawa.

Alappad village, located on the seashore, was impacted by the 2004 Indian Ocean earthquake and tsunami. Varkala Beach (also known as Papanasham) is 26 km south of Kollam. The Duriyodana Temple is in Kunnathur Taluk. The Sakthikulangara Dharma Sastha Temple-Sree Ayyappa Swamy Temple is known for its Utsavam in the month of Makaram (between mid-January and mid-February).

Polachira, in Chirakkara Gramapanchayat, is a sightseeing destination. The Anathavalam is near here where one can see domestic elephants, touch and ride them. Mannathippara is at Polachira, 4 km south of Chathannoor. Sasthamcotta Lake, about 19 km from Kollam, is the largest freshwater lake in Kerala and a domestic tourist destination. Jetayu Para, a large boulder, is located in Chadayamangalam; it is named for a mythical character in the Ramayana. It is believed that Jatayu fell here, after his failed attempt to stop Ravana.

title: Kollam district


text:
Wikipedia:Featured list candidates/List of elements by symbol/archive1

List of elements by symbol
I did some formatting of this list, and added a bunch of other names to the second part of it, and I now think it's ready for featured status. Comments? --Spangineer (háblame)  17:53, July 15, 2005 (UTC)
 * Support, maybe the colour key could be under the table of contents. Phoenix2 22:20, July 15, 2005 (UTC)
 * Would you prefer it to be right under the first section heading? --Spangineer (háblame)  03:31, July 17, 2005 (UTC)
 * Negative, I just thought it would look a little better with it right under the TOC, but above the first section heading. Phoenix2 05:54, July 18, 2005 (UTC)
 * I'm not sure how to do that—I've never figured out how to tell the TOC where to put itself. --Spangineer (háblame)  10:53, July 18, 2005 (UTC)
 * I moved it. See what you think. --Dmcdevit·t 20:14, July 20, 2005 (UTC)
 * Looks good to me. --Spangineer (háblame)  23:08, July 21, 2005 (UTC)
 * Support (just visiting) -- ALoan (Talk) 19:33, 17 July 2005 (UTC)
 * Support =Nichalp   «Talk»=  18:13, July 19, 2005 (UTC)
 * Support NickC 18:18, 20 July 2005 (UTC)
 * Support -- Cyberjunkie | Talk 02:23, 21 July 2005 (UTC)
 * Support, perhaps it could use slightly lighter colours which are easier on the eye - or just colour the first column. Warofdreams 13:58, 21 July 2005 (UTC)
 * Support - the best, I think, of the element lists nominated for featured list status --Sophitus 18:53, July 21, 2005 (UTC)


text:
Talk:Alex Band

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Sunken treasure

Sunken treasure may refer to:
 * Goods or treasure lost in a shipwreck, some of which is later found during marine salvage
 * "Sunken Treasure," a song by Wilco from their 1996 album Being There
 * Sunken Treasure: Live in the Pacific Northwest, a 2006 live DVD by Jeff Tweedy of Wilco
 * Sunken Treasure, the first mission in the Beach Bowl Galaxy from the video game Super Mario Galaxy

title: Sunken treasure


text:
User talk:Newstuff

Welcome!
Hello, Newstuff, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

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-- Sango  123  17:53, July 15, 2005 (UTC)

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Your postings
Hello. Please note that your status as a user will be affected in the longer term if you add questionable content to Wikipedia. Charles Matthews 18:17, 15 July 2005 (UTC)

Please understand that Wikipedia cannot use material copied from other web sites, such as you have pasted into hot dry meat curry and Calgary regional arts foundation. Charles Matthews 18:26, 15 July 2005 (UTC)

title: User talk:Newstuff


text:
Hans Ulrich Klintzsch

Johann "Hans" Ulrich Klintzsch (4 November 1898 – 17 August 1959) was a naval lieutenant from the Erhardt Brigade who later served as Oberster SA-Führer, the supreme commander of the Sturmabteilung (SA), from 1921 to February 1923, when he returned to his former unit and ceded control to Hermann Göring. After his career as SA leader, he went back to the Luftwaffe. He died during the wedding of his son Fridthjof.

Decorations and awards

 * 1914 Iron Cross 2nd Class and 1st Class
 * Silesian probation badge (de) (1921)
 * The Honour Cross of the World War 1914/1918 (1934)

title: Hans Ulrich Klintzsch


text:
Talk:Kollam district

About District Collector
Perhaps, details about the function of District Collector are not required as the same will be available to the specific page dedicated to entry relating to this government functionary. --Bhadani (talk) 10:59, 3 February 2008 (UTC)

Orphaned references in Kollam district
I check pages listed in Category:Pages with incorrect ref formatting to try to fix reference errors. One of the things I do is look for content for orphaned references in wikilinked articles. I have found content for some of Kollam district's orphans, the problem is that I found more than one version. I can't determine which (if any) is correct for this article, so I am asking for a sentient editor to look it over and copy the correct ref content into this article.

Reference named "Cities1Lakhandabove": From Thiruvananthapuram:  From Kozhikode:

I apologize if any of the above are effectively identical; I am just a simple computer program, so I can't determine whether minor differences are significant or not. AnomieBOT ⚡ 08:46, 18 December 2013 (UTC)

Need to remove the redirect "Kundara" from this page
Hi,

I would like to remove the redirect Kundara from Kollam district page. Because, Kundara is a satellite town of Kollam city in India. It was having great export excellence before the Independence of India. Hence Kundara deserves a separate article. But due to this redirect, it is not possible to write a separate one. What do you say SwisterTwister  and  Philg88  ?? -- Arunvrparavur (talk) 11:40, 23 February 2016 (UTC)
 * Just edit the Kundara article and replace the existing redirect with the text of your new article. Philg88 ♦talk 12:00, 23 February 2016 (UTC)

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User talk:Carellaw

Welcome!
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Image Tagging Image:Oplatek2.jpg
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title: User talk:Carellaw


text:
User talk:QuiescentNemo

Welcome!
Hello, QuiescentNemo, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

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Image copyright problem with Image:Henrietta.jpg
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title: User talk:QuiescentNemo


text:
Talk:Tentacle

"Tantacle" as a General Term vs. "Tentacle" as a Cephalopod-specific Biological Term
The article is rather vague regarding the accuracy of the use of the word "tentacle" when applied to a long, round, tapered muscular hydrostrat. This article and cephalopod limb seem to imply that it is incorrect to refer to the limb of an octopus as a 'tentacle'. I disagree to a certain extent; I would argue that the definition changes based on the scope of the topic.

When in the context of biology, specifically of cephalopods, it is necessary to use separate words to form a distinction between limbs of different anatomy and function. However, when such a biological distinction/specification isn't necessary, "tentacle" may be used as an umbrella term for cephalopod limbs.

My first argument for this is that the vast majority of English speakers will refer to a cephalopod limb as a "tentacle" in a general context. While it could be argued that the vast majority are wrong, the word 'tentacle' has become a de facto term to refer to such a limb. If a person were to write a book and one of the characters found the arm of some kind of squid or octopus on the beach, I doubt the book would say, 'He found a severed arm on the beach." Even Wiktionary describes "tentacle" as "An elongated, boneless, flexible organ or limb of some animals, such as the octopus and squid."

My next argument is that the general biological definition of "tentacle" defines things dissimilar to cephalopod limbs. A "feeding tentacle" and and "arm" have far more in common with each other than they do with the tentacles of a cnidarian. It makes no sense to refer to a hair like appendage covered in stinging cells as a tentacle while claiming it is incorrect to refer to any cephalopod limb as a tentacle.

If no one has any objections, I would like to see this edited and cleared up.

AbyssopalegicIdeas (talk) 03:11, 13 July 2019 (UTC)

No Trivia
I deleted that "cultural context" crap, I've had it with random trivia on Wikipedia.

69.221.194.209 (talk) 22:38, 9 July 2008 (UTC)

Octopodes, octopuses, octopi
The plural of Octopus is Octopodes: What are the plurals of Octopus, Hippopotamus, Syllabus?

 * But that's not what the article says. They only mention octopodes as a way of explaining why octopi is not the correct plural, octopuses is. --Michael Geary 23:52, 8 September 2006 (UTC)

Star Wars?
Why is Star Wars listed under "Tentacles in cultural context"? --Goobergunch|[[User talk:Goobergunch|?]] 07:19, 6 December 2005 (UTC)

There needs to be a clear definition distinguishing arms from tentacles. Without this definition, what does it even mean to say that an octopus has arms, not tentacles? Please someone enlighten me.

Mechanical tentacles
In war of the worlds the huge tripod-thingies use tentacles to capture humans. In the matrix, some of the robots have tentacles attached to them. Could sometone mention these artificial tentacles? T.Neo (talk) 19:28, 2 January 2008 (UTC)

Lead paragraphs
The second paragraph reports that "A nautilus has cirri, but an octopus has tentacles." However, the article on octopus specifies that octopi have arms, not tentacles. One of the two may be wrong, but I'm not qualified to say which.... PurpleChez (talk) 17:01, 27 July 2017 (UTC)

title: Talk:Tentacle


text:
User talk:Mdiogo

Welcome!
Hello, Mdiogo, and welcome to Wikipedia! Thanks for your contributions; I hope you like it here and decide to stay. We're glad to have you in our community! Here are a few good links for newcomers:

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Happy editing!

-- Sango  123  17:55, July 15, 2005 (UTC)

P.S. Feel free to leave a message on my talk page. :)

title: User talk:Mdiogo