Dekkappai's Plumper Games!

My son dragged me to see The Hunger Games. I went in having no idea what it was about and not knowing what to expect. I began to realize it was supposed to be a (serious) political satire, but couldn't grasp its targets until it dawned on me what the cultural touchstones were here: Reality shows + Iraq = the United States of the past 20-30 years or so = the culture from which I have become so alienated I feel like a foreigner in my own country... Add to that the most nauseating of new camera techniques: constantly moving shaky-cam, random close-ups obscuring the action (during one fight, I didn't realize until it was over that the opponent was a girl), etc. And top it off with ludicrously obvious plot holes, glaring inconsistencies in character and motivation, heavy-handed audience manipulation, a stifling lack of humor, and I had one miserable time at the theater today. I could mention the obvious (and much better) sources stolen/borrowed from to concoct this social commentary (Lord of the Flies, Battle Royale, Shirley Jackson's "The Lottery", etc., etc., etc.), but that's an awfully cheap trick, one too low even for me... My son liked it, and I guess it would speak to a brooding teeny-bopper, which I can remember being once, about a century ago, so I watered down my complaints for him during our post-film discussion. Two stars out of Ten for me. Much higher, probably, if you are a young teen.


Given my taste in ladies, however, and the title of the film, it could have been much, much worse: Imagine if it had been a story about pouty, snotty anorexic models. I would have probably run out of the theater. As an antidote to that appalling vision, please join me in a visit with some lovely ladies of the past who, thankfully, appear not to have recently suffered from long bouts of hunger. And without further ado, Ladies and Gentlemen, I give you now The Anti-Hunger Games, Dekkappai's Plumper Games!

We begin our survey with a tribute to that classic, pioneer of the Japanese BBW genre, Yoko Koizumi, above left.


IZM's Erika (right) made only a couple of original DVDs for the studio (there is a more recent one which appears to be made of old material), but those few made an impact.






The diminutive Usagi Minagi (left), with her long background in the field is an essential pleasure in any discussion of the Japanese BBW.








Oppai label claims their Hitomi Matsumoto (aka Mozuku and Yumi Miyaoka) sets records in the bust department, but she is most obviously recognizable as an incredibly gorgeous BBW.







This year's games wind down with a four-part offering on a Wagnerian scale from another earlier Japanese BBW figure, Anna Watarai at left. And we conclude at the right with one of the grandest finales of all time, from the same model.

Gangster Story

Earth-mother, Tamaki Yasuoka, under her alias Tomomi Nagamine, has a part in the new multi-actress DVD 寝バック素股は危険ヤデ 裏切りのスマタバスター３部作完結編 (WZA-06). At right a couple of lads share a Tamaki sandwich in the DVD, released by JAMS in Japan today.


Last night's film was Gangster Story (1959), directed by and starring Walter Matthau. It was apparently brought to public attention through a showing on Turner Classic Movies (one of the rare aspects of current U.S. TV which makes me consider getting cable. But then I remember the commercials, the crawls, the bugs, the voice-over ads, etc., and I come back to my senses. U.S. TV was never great, but after about 1985 it went straight to Hell.) According to TCM, Matthau directed this on a dare. Upon completion, he recognized that he had no talent for directing, and never helmed another. This film bears the distinction not only of being both the only film Matthau ever directed, it is also the only film in which he appeared in with his wife, Carol Grace. Though it has some pretty obvious draw-backs-- mostly related to the skimpy budget-- Matthau and Grace have (understandably) very good chemistry, and their odd love story is what makes this film bearable. The acting is not bad-- Matthau is his usual, likably cantankerous self-- and the story, if a bit preposterous (though the poster claims it is based on a true story), is entertaining enough. I'm not literate enough in film technique to say exactly why Matthau's direction is bad, but, yes, bad it is. The post-synced soundtrack doesn't do the film any favors as far as polish, but it does give a bit of a home-made charm to it-- Post-syncing is one of the things that gives Pink films their own odd charm. "Charm" in spite of technical deficiencies is something I got out of this film too. The film's editor was Radley Metzger later founder of Audubon Films (importer of the early Pink Film classic Madame O, and the Pinkly-advertised (though not actually Pink) The Warped Ones, 1960) and a respected director of erotica in his own right. Anyway, Matthau's effort here gets a Six out of Ten from me.

These Guns Don't Argue!

Boobpedia news flash!!! IZM announces the return of the spectactular Yui Igarashi (left)! Touting an awe-inspiring 146(Q)-79-124 figure, Yui's two previous appearances have also been with IZM: 146-centimeter Huge Melon Breasts (146cmのデカメロン乳 - 146 cm no dekameron chichi; ICD-141; January 2011) and Super-Boob Princess (超乳姫 - Chounyuu hime; ICD-157; July 2011). Below she is seen in her newest DVD release, Super Big Peach Tits 149cm! (超巨大桃乳149cm - Chôkyodai momo chichi 149 cm; ICD-179), which just came out on March 24.



I decided to doze of with a crime/noir selection, and picked Guns Don't Argue (1957). Someone at IMDb correctly calls it Hooverite revisionism. And that's exactly what it is, of course, no doubt about that. OK. Now, about the movie: It's an entertaining little crime flick with a rock-bottom budget, strung together from three episodes of the Gang Busters TV show. The featured criminals are Pretty Boy Floyd, Ma Barker & her brood, and Dillinger. The latter is played by Myron Healey best known (to me, anyway) for appearing in the U.S. additional footage to Varan the Unbelievable (1962). Entertaining, cheap historical fantasy. Five out of Ten.

Santo Contra las Grandes Tetas Japoneses

First full day back at blog work. Did some patch-up work on the Pink Film Archive(s). Fixed the problem entries at the newer half. Finished uploading new film/re-release/extra images. Started a few entries for older films for which I don't have posters but do have stills. Kôji Wakamatsu's Violated Angels (1967) was the most significant film in this batch.


During my break from serious Pink Film work, I did a little Boobpedia research, and made the pleasing discovery that my favorite, Tamaki Yasuoka has a new release out: Double-O Heaven / MAGURO-027 (ダブルオーヘブン！ ボリューム満点！安岡たまきと超乳かおり夢の最強タッグ実現！) In the still above, our protagonist, a dapper gent of fine taste, ponders the abundant choices presented him. He seems to be favoring Ms. Yasuoka, on his right, which would be my choice as well. Tamaki's co-star, one "Kaori", has a magnificent build, but wears the mask you see in every still of the video I've yet seen. As much a fan I am of the Three B's (boobs, bellies & butts), they're nothing without a face. The Santo-like mask "Kaori" wears therefore nullifies her other rather obvious physical charms. Here's hoping she doffs the wrestling regalia later in her career!

Taking a Break

While Hana Uehara-- at right in もしLカップの上原花が愛人だったら 7つのムチムチ不倫 (Gas-242), to be released next month-- gives some lucky chap a nice rise-and-shine, I spend my own morning uploading the new re-release posters from Nakamura Eigeki. This will make a good stopping point for a break from Pink film poster work for a while while I wander off to do a few other things. I plan to be back to this blog in a week or so.

Obsessions: Hitchcock vs. Dekkappai

The evening's viewing pleasure consisted of re-viewing my choice for Hitchcock's best: Vertigo (1958). I only saw about half of it-- up to Stewart & Novak's first smooch, with the waves crashing in the background and Herrmann swelling up all over the place. Speaking of Herrmann, it was The Artist's borrowing of his score to Vertigo which inspired me to give the original another look.

Nothing against Ms. Novak or Hitchcock's tastes, but were yours truly to film Vertigo, the model of obsession would be a bit more like the voluptuous LUU. Of course given an actress of LUU's entrancing bulk, I supposed the famous scene of Jimmy Stewart carrying Kim Novak out of San Francisco Bay would have be be restaged in the Dekkappai version. He'd have to carry her piggy-back, on shaky legs. LUU is seen at left demonstrating a union of Hitch's fetish for the "cool blond" with Dekkappai's obsession with chubby Asian women.


After that, I put on Paul Leni's Das Wachsfigurenkabinett (1924), and watched it up to the end of Emil Janning's mugging, at the point where Conrad Veidt was about to pick up the ham.

Spent my free time today beginning the uploading of some of the Nakamura Eigeki posters to the Pink Film Archives. I've got about 60 posters to new films sorted and identified, an equal number of re-release posters to existing films, and a few better images than are presently posted, which will replace the old ones. I'll upload them and clean out the backlog, then get back to the project Nakamura Poster project. It's going require going through about 2,000 poster images-- most of them duplicates, of course, but I'm finding a surprising amount of new material also.


The evening's viewing pleasure featured Dick Tracy Meets Gruesome (1947), an entertaining little comic-book noir featuring Boris Karloff as... guess who... The actor who plays Dick Tracy (Ralph Byrd) doesn't have much presence, and Karloff, of course, has presence and then some. Gruesome Meets Dick Tracy might be a more accurate title, as reflected in the order of the cast billing shown in the poster to the left.

Went to see The Artist today. I had been slightly reluctant to see it, for some reason. I love silent film. But maybe it was because we enjoyed Hugo so much and were disappointed it had lost for Best Film & Best Director to this unknown upstart Artist. Anyway, we both absolutely loved it. I rarely agree with the Best Film selections (I couldn't even watch more than 15 minutes of Hurt Locker), but they got it right this time. It's a joyful celebration of film history (a point it shares with Hugo), a treat for film buffs, and just a plain fun, touching, wonderful movie. I look forward to seeing it again.

Everyone seems to assume the main character is based on Valentino, because of his name (George Valentin), but he looks a lot more like Douglas Fairbanks to me. It's put me in the mood to dig out some Fairbanks films from my collection and watch them again.

Spent most of my free time today identifying, labeling and categorizing Pink Film posters from the Nakamura Eigeki theater collection. Tough work, but fascinating and fun work for an old puzzle-solver/collector/list-maker such as myself.

A Princess of Mars

I went to see a film I've been anticipating for a year at least: John Carter. I was initiated into the cult of Edgar Rice Burroughs during my teens, and read the entire Mars, Tarzan, Caspak, Pellucidar series... Hell, I've probably read almost everything the old hack wrote. I wouldn't claim him to be a great author in the normal sense, of course, but he was probably one of the most naturally talented storytellers ever. He just churned them out for decades, like a Mozart of cliff-hangers. I always thought that if he'd ever stopped and thought and planned out a book before starting it, he'd have come up with a real masterpiece. But he wrote for entertainment, popularity, and for money, and in that he succeeds.
The film? Well, not the disaster it could have been, or that the critics are saying it is. Rather enjoyable in parts. A decent way to start a series, if that's what this will turn into, but with plenty of room for improvement in later installments. I rated it 7 (out of 10) at IMDb. Though the Dejah Thoris in the film was quite fine, and nothing against the Frazetta imagining above left, were I to cast this film, my choice for the Princess of Mars would run more to the unearthly stylings of the heavenly Ms. Hana Uehara, presented in costume for your viewing pleasure at the right.

Busy, Busty Business Women

If the sight of my secretary, Miss Asato, back in January, put you in the mood for more working women, you are in luck today. In this post we investigate women in business attire. The stunning LUU, on her way to the office arouses our attention on the left. Let's follow her up to the meeting room, shall we? No tailgaiting!




And here Karen Toudou, in her April 2011 DVD for JAMS, 奥様は巨女　爆尻ボッキ喰い！唾ぐちゅボイン!! (QDN-08), prepares to start the presentation for us, at right, seated on her desk.



We first pause to admire the abundant charms of Tamaki Yasuoka appearing under her alias, Tomomi Nagamine, in her own JAMS DVD, 凄い身体カフェ　肉棒埋没！容赦なき肉体のバリューセット (QDN-10; June 2011), at left.






Noa Serizawa, dressed to kill at right in the JAMS DVD, 凄い乳房!!妄想コスプレ勃起喰い女教師 (VOL-01; December 2009), is the next stop on our office tour.


And Ms. Serizawa continues our survey in a more conservative mode on the left in Mega Busty Expansion! Super Boobs Advertisement Plan (SND-35; May 2010).






And, finally, to round out this display, Karen Toudou returns at right to show that a business woman looks good either coming or going.














The evening's viewing enjoyment was taken up with another woman in costume, the Sherlock Holmes flick, The Woman in Green (1945), with the redoubtable team of Basil Rathbone and Nigel Bruce. Besides the amusing bumbling of Doc Watson (apparently annoying to Holmes purists, but still enjoyable), and the typically fine acting of Rathbone, the story has some surprisingly gruesome aspects which add to the entertainment value. A Jack the Ripper type is going around London murdering young women and cutting off their fingers. Seven stars out of ten.

Naked Pink Pursuit

Since finishing the first stage of the Pink film archive on February 19, I have been doing some pick-up work: New re-release posters from Xces, new Nikkatsu Roman Porno films and other posters from Cinepo, etc. One of the big news items in the Pink film world is Pink debut of the bountiful AV-idol and former gravure model, Hitomi Tanaka. Here she is, at right, standing next to Ren Azumi in a still from director Yoshikazu Katô's Dosukebe kensa: Naasu bakunyû-zeme (どスケベ検査　ナース爆乳責め), released by OP on February 3rd. Despite her ginormous bazoom, she's too thin, and disproportionate to the Dekkappedlian eye, which prefers an all-around pleasing plumpness. But I can certainly see the attractions... Dare we hope this move could be followed by the recruitment of genuine BBWs like Tamaki Yasuoka!?

Yesternight's viewing combined two of my passions: old, obscure films and Asian eroticism in one unsatisfying package. Naked Pursuit (released by World Eiga in March 1968 as Kôfun [昴奮]) is one of the few examples of early Pink cinema currently available on DVD to the Anglosphere. Slave Widow (1967), Madame O (1967) & The Bite (1966) are the others, and Naked Pursuit is easily the weakest of this quartet. It is, basically, one long rape with a little talk at the start to give the attacks some context. The director-- Toshio Okuwaki-- tries a few camera and sound tricks in a futile attempt to make things a little more interesting, and Pink film stalwart, Masayoshi Nogami (also featured in Slave Widow, as the son/Naomi Tani's fiancee) makes an adequate rapist. But even watched in Fast-Forward, this was pretty hard to take. I'm glad I saw it anyway, to get some historical perspective on the genre. The other three films are of a much higher quality, but this one probably gives a better idea of the average genre entry of the time. If Slave Widow had represented the norm, then Donald Ritchie's 197 essay condemning the "eroduction" ("The Japanese Eroduction", reprinted in A Lateral View: Essays on Culture and Style in Contemporary Japan, 1987) would be inexplicable.

Naked Pursuit owes its current existence to its importation to the U.S. by exploitation mogul Harry Novak. The cross-pollination between the exploitation industries of Japan and the U.S. in the '60s is something that interests me very much, but about which there is very little written. Jasper Sharp devotes a chapter to this subject in his Behind the Pink Curtain, but this is only enough to make one want to know more. One wonders, for one thing, why Naked Pursuit, out of the hundreds of others of presumably higher quality (judging from the other three '60s Pink films on DVD), was selected for U.S. audiences. True, even the fleeting glimpses of partial nudity on display in this film would have been enough titillation to draw in a grindhouse/drive-in audience in the '60s. (The Internet generation probably cannot grasp how difficult it was to come by visual depiction of the nude female form in those days.) But the other existing Pink films from that era show that nudity and quality were not mutually exclusive at that time.

Like many fans of the Japanese erotic entertainment, the violence towards women irritates and bores me, but I don't pretend that this sort of entertainment is unique to Japan. In fact, I suspect the U.S. "roughies" explored this misogynistic territory slightly before the Japanese did. The U.S. "roughies" were shown in Japan during their first release, as attested by contemporary Japanese posters to films such as Scum of the Earth! (1963), Lorna (1964) and The Defilers (1965; Japanese poster at left). It has been claimed that the violence acted out in these softcore productions is to compensate for the inability to "go all the way". (Though misogyny is certainly present in the earlier, non-erotic cinemas of both Japan and the US-- My beloved films noir, for example, are very misogynistic...) The U.S. erotic entertainment industry moved into hardcore, killing off not only the "roughies", but the entire domestic softcore industry. The Japanese, instead, stayed with softcore, and the older "roughie"-like themes. Is hardcore really more acceptable than softcore with sexual violence? Certainly not to me. (I will watch a Japanese Sasori film-- loaded with over-the-top softcore sexual violence-- over any non-violent U.S. hardcore porno any day.) And the U.S. slasher films of the '70s and '80s did mix up violence and sexuality just as many contemporary Japanese softcore films-- Nikkatsu's Roman Pornos for example-- were doing.

Anyway, back to Naked Pursuit: Rape, rape and more rape. Nothing much more to say about it... Three out of Ten stars for the historical value, IMDb's lowest rating (One star) for entertainment value, averaging out to a Two. To get an idea of the type action which your humble servant, old Dekkappai would rather see in a film bearing the title Naked Pursuit, take a look at the scene below, from Karen Toudou's QDN-17.

Tonight I finally finished uploading all my current Pink film posters to the blog-- the Pre-1990 Pink Film blog. Now I'll have to go back and do some catching up-- identify and download the new posters that have been posted to my online sources, and to clean up and then upload the posters I set aside for later work. Also there is a huge collection of smaller (160px wide) posters from the Nakamura Eigeki site which I will have to sort through, identify, sort, and eventually upload. Adding descriptions to the Picasa Web images will be a long, long project, and then linking them to IMDb... Anyway, stage one, started in October, is now officially complete.

We'll Miss You, Miyabi!

Big news has hit the Boob-iverse: Miyabi Hayama's impending retirement. The loss of this gorgeous Asian BBW inspires a pause for reflection on her career. She first came to my attention with her Tokyo Topless debut some time before March 2004. At right we see the girlish young Miyabi of that era in her second appearance already sporting an impressive 129.5(96K)-86-98 figure. Spectacular as she already was, she was to climb the heights over the next decade, attaining her currently reported 144(M)-86-118.


In this snapshot from from her blog at the left we see how stunning she looks in glasses, always the perfect addition to Asian charms, I think, especially with as lovely a face as Miyabi's.








She first donned her glasses for Tokyo Topless about March 2005, in her eighth appearance for the site, seen at right. By this time her figure was listed as 141(98L)-88-110.












She was never very active on DVD, apparently, but more of a shop girl, appearing at Moe no rinjin (萌えの隣人). Most of her DVDs were made with IZM, though she made a memorable appearance with Hana Uehara in November 2009 at Akira Takatsuki's Cinema Unit GAS. Her first known (to me) starring DVD was IZM's January 2008 release, Full-Breasted Soaked Ginger, Raping Men with the Pressure of Breasts! Miyabi Hayama (ICD-55), stills from which are at the left.






Here she is, retiring at the height of her career, in her most recent appearance at Tokyo Topless. Her twenty appearances make her one of the site's most frequent models.














And finally, here she is in what is reported to be her last DVD, IZM's January 2012 release Wife with a 144-cm Bust (ICD-173).
I don't know the reason for her retirement, but I wonder if the title/theme of this final DVD drops a hint that some lucky bastard landed her! But, whatever the reason, farewell Miyabi, you will be missed! Thanks for the mammaries, and best of luck in your future!


For the evening's entertainment I once again turned to the trusty Mill Creek 50 Mystery box. Testing my luck, I picked a film at random: Too Late for Tears (1949) and it turned out to be another fascinating little B-movie. Jean Gillie in Decoy (1946) is supposedly the fatal-est of femmes fatale, but-- nothing against Gillie-- I think Lizabeth Scott in this film is a close second-- as vicious a femme fatale as they come. Add the always charmingly slimy Dan Duryea into the mix, a plot with all the fatalism, seediness and snappy/cheesy dialogue of best noir and you've got another B-movie winner. Eight out of Ten stars.

The Great Wikipedia Blackout! or One Last Rant to Rule them All

Gentlemen, in sympathy with Wikipedia's blackout protest, I'll join in and bring the Web to its knees by strangulating the flow of information on Japanese softcore porn to IMDb for a day. Also I'll take a break from my Pink film archive work. It'll give me a chance to discuss a few things.

First, I find it somewhat ironic that Wikipedians claim sympathy with Google's message, "Please don't censor the Web", yet in their last few hours before blackout, they deleted (censored) an article in my realm of study: The award-winning, big-budget, independently-reviewed, 5th-anniversary DVD from Moodyz, A Queendom of the Eros. It meets their own "notability" criteria on several counts, but it's not notable because a few snobs choose to ignore their own rules and say it's not notable because, you know, we say it's not notable. So now it is gone!
[I thump my fist on my desk causing papers to fly about the room. I press the intercom.]


Oh, Miss Assssatoh! Could you step in here please. I seem to have inadvertendly dropped some paper... again...

Please don't mind my secretary, Miss Asato of Max-Body, while she cleans up a bit, gentlemen.

Now, my old Wikipedia cohort in Japanese erotic entertainment, Cherryblossom1982 started the A Queendom of the Eros article. I hope he notices that the more reliable, more honest IMDb now has one on it. Like anyone actually interested in contributing information, rather than playing power games, he too is long gone from Wikipedia.




Please step over to the piano, Miss Asato, while I finish this lecture. Feel free to tinkle a bit on the ivories a bit if the muse calls.

Gentlemen. Only the evilest people I have ever encountered on the Internet thrive at Wikipedia. Whether the Wikipedia system makes people this way, or whether it attracts those who are already warped, I don't know. Anyone who comes to honestly contribute sourced information leaves, while those who come to enforce their opinions stay. Those who remain are only there to save Wikipedia from itself, because they believe only they can do it. It is a haven for self-important, manipulative frauds with the narrowest, most self-deluded minds, the least tolerance of others, of humor and the least capacity for self-reflection. Wikipedia, which was founded on populist ideas like freedom of information has been overrun by lazy, elitist snobs and moralists of the cheapest order: Those who prop up their own shabby egos by sneering at the less "refined".


Gentlemen please! please look this way when I am speaking. There is no need to monitor Ms. Asato so carefully. She is quite capable of finishing her work without your attention, I assure you.

Ahem. Where was I? Oh yes. Even editors whom I once considered rational began following crackpot Wiki-cults like "Notability", either because they eventually became brainwashed, or they just got tired of fighting the nonsense. "Notability" has so taken over Wiki-think that we are now told that only information directly related to a subject's claim for "notability" belongs in a biography. Family, ancestry, ethnic background are not-- or should not be-- a part of a person's biography at Wikipedia. Wikipedia tells us that a biography is not be about a person's life, it is about a person's "notability". Just to check that I wasn't insane (one should check this occasionally), I picked up about a dozen actual biographies at random. You know, biographies... books about people's lives. Every one of them started out with family background and ancestry. Some even charted family trees-- Cruft! Some-- Good Gosh!-- even covered such Wiki-taboo subjects as religion and sexuality. You know, people's lives... So, yes, the Wikipedia community is insane.


Wait over there for a moment please, Miss Asato, while I change gears.

As I mentioned in my October farewell message here, I have changed gears in my online activity, reducing Wiki-type-work. I've been working on the Pink film archive(s) and at IMDb. I finished starting the first half-- uploading all my images of posters to films from 1990 to the present-- and have made a pretty good dent on the second half-- the pre-1990 films. Working backwards from 1990, I am now at the start of 1975. '75 seems to be a hurdle, since this year and the ones before it have several beautiful, large, poster images which will need a lot of touching-up before they're presentable-- watermarks removed, etc. (The more recent years have some pretty messy images too, but they're too small to bother cleaning unless a real article is to be started.) This, plus the fact that I've worked on this project non-stop for... what?... four months now? makes me feel like it's time for a little breather before making the final push. I'm running out of steam.


OK, you can wait over on the left now, Ms. Asato.

At IMDb I finished working on Sachi Hamano's filmography. The Grand Dame of Pink now has 159 films to her credit. (She's supposedly directed over 300, but that is all I could find listed in the main Japanese sources.) Now I've started adding/working on every Pink film released in a particular year. I finished 2011 and am now at 2010. Surprisingly, the 2010 films are already in IMDb. I've been adding role names and crew members, and linking to the posters in my Pink film archive.

Ah, Ms. Asato, I think a paper flew behind that couch there-- would you see if you can reach it? For the little work I did at IMDb last year, I received a "Happy New Year" note from Col Needham, General Mananger and co-founder of IMDb, with thanks and encouragement to contribute more. It was a form-letter email, of course, but still, far better than the treatment contributors receive at Wikipedia. Anything you contribute is immediate target for deletion, and has to be guarded and fought for. When on Jimbo Wales' talkpage I mentioned my over 600 article contributions, not one of which has (yet) been deleted, I was insulted by a non-contributing, opinionated idiot (Tarc). A user who contributes nothing to the project, and only argues and stirs up trouble would legitimately be branded a troll at any rational site. But Wales sat there and said nothing. Who does Wales thank? The only time I saw him go out of his way to thank an editor was when the prancing hypocrite Scott MacDonald created the biggest disruption of Wikipedia I'd ever seen, by speedy-deleting hundreds of unsourced biographies. And how does Scotty feel about the blackout? He opposes it because, you know, it disrupts Wikipedia to make a point. "In protest at this action [blah blah blah] I will cease contributing on an indefinite basis." If that's the only result of this blackout, then it is well worth it.

Fine job, Ms. Asato. You've earned a rest!
The evil trickles down from the top, gentlemen. Jimbo created this whole mess by not setting up any definitions, any real rules or guidelines himself. He has not made so much as a simple statement of what Wikipedia is. He famously claimed it to aspire to "The sum of human knowledge," yet it has now become accepted majority opinion that Wikipedia aspires to a minimal coverage of any topic. Recruiting new contributors is, in effect, only recruiting new victims. Even such "Pillars" as "Wikipedia is Not Censored" / "No Original Research" / "Neutral Point of View" are routinely subverted by subjective, fan-made rules like "Notability". This lack of any rules left the creation of rules to anyone who wanted to. So why work on articles? Without a set definition of the project, that is totally pointless work. The goals of the project, being undefined, can, and have been changed, resulting in the deletion of that work. Jimbo's other project-- Wikia, the Gulag created as an exile for those interested in contributing information rather than acting as barroom bouncers throwing out information-- is even worse. But I will save that rant for later. Don't worry Miss Asato, it's only worth one rant. I didn't invest anywhere near the time and effort there that I did at Wikipedia, so I've got a lot less to mull over.






Aw fuck it.
Contributing to Wikipedia is for chumps.
Only trolls whose only purpose is to harass the contributing suckers are welcome there.
And that is my last rant on the subject.

Hmm...
Hold that inspiring pose for a moment, Miss Asato, if you could, and I'll be right there!

Jugs with Wine, a Wikipedia Rant, and Thou

I'm nearly finished posting all my current posters at my first Pink film blog, which covers the years 1990 to the present. I just have to finish 2002. So far, I've made a total of over 1,200 posts, each representing a film, with information and poster(s). I've been slowly adding some info to IMDb, and their coverage of, for example, the filmography of Sachi Hamano, and the personnel involved in the making of those films, is improving. IMDb even gladly accepted an article on Mariko Morikawa's sole cinematic venture, Big Tit Monestary, linking to my blog's posters of both releases of the film. Nearly all of this information, needless to say, would now be unwelcomed at the project formerly claiming to aspire to "the sum of human knowledge."

[ BREAKING NEWS: The geniuses (i.e. anonymous, uninformed and biased volunteers) at Wikipedia are now in the process of removing awards as proof of "notability" for Pink film personnel, based on equating them with US low-grade, hardcore pornography personnel. According to the Historical Dictionary of Japanese Cinema, Pink film "must be considered a crucial sector of [Japanese] domestic film production." Do similar reference books on US cinema say this of US hardcore pornography? No matter. Soon, articles on Japanese performers in mainstream films will be targeted for deletion because of a guideline set up to deal with (i.e., delete) articles on U.S. hardcore porn stars. As far as sexual exlicitness, Pink films are the equivalent of US R- and NC-17 films. So will the geniuses at Wikipedia judge filmmakers and films in the US R- and NC-17 categories by the same standard? No, no, no, of course not. But, Dekkappai-san! You don't mean that Wikipedia's "notability" guidelines violate Wikipedia's own policies of "No original research", "Neutral Point of View" and "Not Censored" by allowing editors frame it with their un-supported opinions and personal prejudices, resulting in cultural bias throughout the project! That's EXACTLY what I don't mean nothin' else BUT! ]

Scene from Tamaki Yasuoka's new DVD

Speaking of Hell on the Internet. I got a notice that the edit-warring and sourced-content-deletion of full-time Wiki-asshole Hullaballoo Wolfowitz had been brought to the attention of Jimbo Wales. I made the mistake of blundering in and pointing out that HW was one of the arrogant, ignorant, incompetent, lazy sons-of-bitches who had played a role in my leaving the project-- after having contributed over 600 articles including two Good and one Featured on the mainpage. And how did Wales react? Silence. I was then attacked and insulted on Jimbo's talkpage by a pimply-faced Anglo-centric piece of shit who has never contributed anything to the project, and spends all his time seeing that his self-important, ignorant opinion is represented at every discussion. And how did Wales react? Silent agreement.

A week before Daylight Savings time, I had another brush with Wikipedia. My old computer indicated it was time to set the clocks back, but, knowing that the date had been changed within the last decade, I decided to check around first. I figured even the incompetent blow-hards at Wikipedia could manage to give me the correct time of day. One would think that, for one, is one of the rare, relatively non-controversial topics which doesn't attract crackpottery, edit-warring and deletion of real information. One would thing wrong. The article on Daylight Savings Time does not give the dates of time change. I checked another article-- "Daylight Savings Time in various countries" or whatever. That did not give the dates of time-change either. At this point I did what I should have done before I even went to the site: said "FUCK Wikipedia!" and easily Googled my answer. I can only imagine that the constipated, rule-making "Wikipedia is not" apes went on a "Wikipedia is NOT an almanac!" crusade and deleted any information that might help users in this area. And Jimbo Wales and the rest of the Neville Chamberlains sat on their smug asses silently "assuming good faith".

Tamaki-san's wine date, Mei Asaki

So far so good.

Then, today I get an email from the marvelous Wikipedia system telling me that an article I started on the Korean animated film Robot Taekwon V and Golden Wing way back in 2006 had suddenly been put up for speedy deletion. Against my better judgement, I looked in to see what was up. What happened illustrates the bureaucratic incompetence that has taken hold at Wikipedia, and which is only getting worse, to the satisfaction of the incompetent teens-playing-bureaucrats who run the place now. Some stupid fucking idiot vandalized the article, adding a lot of hoax information involving Nicholas Cage, President Obama, Roger Ebert, etc. Ha ha ha. Funny. OK. Easily fixed. Just revert it, right? Wrong. But that's how the marvelous Wikipedia system works, isn't it? No. That's how the old Wikipedia worked. The Wikipedia that was set up to accept and present information. How does the new, modernized, BLP-ized, Notability-ized, Deletion-ized Wikipedia system handle this? It speedy-deletes the article as a hoax, then warns me-- retired, good-faith contributor, non-vandal ME-- not to add inappropriate material. Fine. IMDb will be happy to accept information on this "hoax" film when I eventually tire of Pink cinema and branch out to Korean cinema.

Here's the entry for that "hoax" over at the Korean Movie Database, and to the right, more hoaxery deceives your eyes. Of course none of the English and American idiots at Wikipedia would think to search for information on a Korean animated film in Korean, would they? No, anyone who reads Korean has either left the project to contribute real information someplace that accepts it, or has accepted what Wikipedia is now, and stayed on to push one point of view and to fight other point-of-view-pushers... Chatting, trolling, fighting other trolls, vandalizing and fighting other vandals... that's what all the repected editors do...

And at IMDb? No vandals, no self-important, incompetent assholes endlessly creating, changing, interpreting and re-interpreting their own rules... just submit your information with back-up sources and people with actual authority approve it or reject it... I should have made the move to IMDb long ago.

But, in Boobpedian news: The gorgeous Tamaki Yasuoka has a new DVD release, code name: WZA-04. She can be seen at the top of this post. Tamaki-san reports in her blog that she and lovely Mei Asaki had a wine date a couple weeks ago. See the picture below Ms. Yasuoka above for Asaki-san. Put me between those four... er, two... with a little scotch instead of the wine, and you've got the stuff that Dekkappedlian dreams are made of...

And, beating all the odds, Bon-Bon Cherry has finally released a decent screenshot to DMM. Take a look at the layout presented in their DVD Bomc-032:

Bomc-032

... and with that, I wish you soft, warm, squishy, pleasant dreams...