關於 beyond cool japan ，我們在網路上蒐集到這些相關的討論、資訊與評價

// ODD BALL //
In school, I was the odd ball who wasn’t allowed to
attend parties & mix with the boys (Dad was strict lol)
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In college, I was the odd ball in a male-dominated
course (Computer Science/IT)
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In the entertainment industry, I was the odd ball
introvert who was socially awkward
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Among women, I was the odd ball who struggled with
conversations about grooming, beauty & fashion
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Among entrepreneurs, I was the odd ball
with a significant lack of charisma
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I struggled with a low self-esteem & in trying to fit in,
I would go over and beyond to please, to gain acceptance.
It was draining because I was forcing myself
to become someone I wasn’t.
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Then frustration turned into depression.
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Eventually, I learnt that
It’s okay to not be like the cool kids
It’s okay to be comfortable being alone
It’s okay to be different.
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We may not be for everyone, but that’s okay.
Be brave enough to stand out & be yourself.
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Just like the 8 famous people in history who were
surprisingly Odd Balls like us. (Insta Stories)
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Love you.
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#HannahTan
#LimitedEdition
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Side note,
Such an honour to be one of the first in Malaysia to
experience @JillStuartBeauty’s fun range of
cosmetics all the way from Japan.
In this shot, makeup specialist Maki Kume San is
applying lipstick shade 10 on me.
More pics/vids on Insta Stories.
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Shot by @nicksterpix
Lashed by Joy @lashlabkl

*Hyperventilates* I am such a hardcore Star Wars fan girl so imagine my excitement:

ANA has just unveil its STAR WARS’ R2-D2™ ANA JET, the one and only R2-D2™ ANA JET on the planet, which will finally touch down at Changi Airport in November! And we will be the first Asian airport outside of Japan to welcome it!

In celebration of the arrival, 15 participants will stand a chance to win a pair of invites each to the exclusive STAR WARS experience on board the R2-D2™ ANA JET on 14 November 2015:

-During the 3-hour experience on ground, winners will enjoy watching one of the currently released STAR WARS movies with an in-flight business class meal on the full flat business class seat (which has cool STAR WARS interior, STAR WARS themed headrests and dining ware!)
-Limited-edition commemorative merchandises such as an R2-D2™ ANA JET Model Plane and a STAR WARS plush toy

All you have to do is to fill up the application form found on the website (http://www.ana-sw.com/event/?id=20&lang=en). May the force be with you!!

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

New Music: Namewee ft.DJ KOO @TRF【Boy Meets Girl 2020 Remix】八零後哈日電音神曲改編
http://bit.ly/2NrPoH7

Cool Japan TV Website: http://bit.ly/2znvZ6b
Business Inquiries : info@cooljapantv.biz

Cool Japan TV Facebook Page : http://bit.ly/2Nun0Zz
Cool Japan TV YouTube Channel: http://bit.ly/2pwbqP3
Cool Japan TV Instagram : http://bit.ly/2I3jDCR

Namewee 黃明志 Official Facebook Fan Page: http://bit.ly/2pwaRop
YouTube Channel Link: http://bit.ly/2Nzur1T


“Tokyo Bon 2020” is a co-production with the largest influencer marketing company in Japan - Cool Japan TV. The Bon Odori dance is choreographed by the award winner Japanese traditional dancer - Ukon Takafuji.

The song combines Japan traditional music elements with Asia pop, giving the song dynamic energy that has never been heard before. The song also potrayes the unique and cute sound of Japanglish, the friendship beyond the border, and the love for Japanese cultures.

Bon Odori is a traditional Japanese dance that performed all over Japan with people holding hands together and dancing in a circle. The song contains a wish for world peace where people from different backgrounds hold hands together, and an invitation to the largest festival of peace - “Tokyo Olympics 2020”.

※ Any collaborations, event, business inquiries with Tokyo Bon, please contact info@cooljapantv.biz.

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「東京盆踊り2020」是一支與日本最大網紅媒體公司 - Cool Japan TV 共同製作的作品。盆舞舞蹈由國際知名的日本傳統舞踊家 - 孝藤右近編排。

此作品融合亞洲各國及日本的音樂元素，歌曲混沌的能量形成了充滿魅力的流行音樂，並巧妙地描繪了外國人對日式英文獨特及可愛的發音的感覺，跨國友誼及互相理解，以及對日本文化的愛。

盆舞，是多人手牽手，圍圓圈一起跳的日本傳統祭典文化。此曲的理念為，希望全世界的人們一同手牽手祈福和平，一同前往和平的祭典「東京奧運會2020」。

※ 任何作品，活動，商務合作，請聯繫 info@cooljapantv.biz


-----------------

「Tokyo Bon 2020」は、Nameweeと日本最大級のインフルエンサーマーケティング企業「Cool Japan TV」の共同プロデュース作品です。盆踊りの振り付けは、世界的に活躍する創作日本舞踊家の孝藤右近が手掛けています。

本作は、アジアと日本の音楽性が融合した、混沌としたエネルギーが魅力のポップスとなっており、外国人が感じるジャパングリッシュのユニークでカワイイ響き、国境を越えた友情と相互理解、日本文化への愛着が表現されています。

盆踊りは、多人数が手をつなぎ、輪になって楽しく踊る、日本の伝統文化です。本作には世界中の人々と国境を超えて手をつなぐという平和への祈り、世界が一同に集う平和の祭典「東京オリンピック2020」へ夢が込められています。

※ Tokyo Bonとのコラボレーション、日本に関するイベント開催、日本に関するビジネス相談などについてのお問い合わせは、info@cooljapantv.biz までお問い合わせください。

-

數位音樂下載 Online Music Download【亞洲通吃 All Eat Asia】：https://lnk.to/uOINqPTk

-

欲網購黃明志最新實體專輯《亞洲通才》及歷年專輯和周邊商品請到。Purchase Namewee Latest 《Asian Polymath》 , Others Music Albums & Merchandises Please log in to https://namewee4896.com/

Namewee 黃明志 Official Facebook Fan Page:
https://www.facebook.com/namewee/

Namewee YouTube Channel Link:
http://www.youtube.com/namewee/

#Namewee #黃明志 #TokyoBon

New Music: Namewee ft.DJ KOO @TRF【Boy Meets Girl 2020 Remix】八零後哈日電音神曲改編
http://bit.ly/2NrPoH7

Cool Japan TV Website: http://bit.ly/2znvZ6b
Business Inquiries : info@cooljapantv.biz

Cool Japan TV Facebook Page : http://bit.ly/2Nun0Zz
Cool Japan TV YouTube Channel: http://bit.ly/2pwbqP3
Cool Japan TV Instagram : http://bit.ly/2I3jDCR

Namewee 黃明志 Official Facebook Fan Page: http://bit.ly/2pwaRop
YouTube Channel Link: http://bit.ly/2Nzur1T


“Tokyo Bon 2020” is a co-production with the largest influencer marketing company in Japan - Cool Japan TV. The Bon Odori dance is choreographed by the award winner Japanese traditional dancer - Ukon Takafuji.

The song combines Japan traditional music elements with Asia pop, giving the song dynamic energy that has never been heard before. The song also portrays the unique and cute sound of Japanglish, the friendship beyond the border, and the love for Japanese cultures.

Bon Odori is a traditional Japanese dance that performed all over Japan with people holding hands together and dancing in a circle. The song contains a wish for world peace where people from different backgrounds hold hands together, and an invitation to the largest festival of peace - “Tokyo Olympics 2020”.

※ Any collaborations, event, business inquiries with Tokyo Bon, please contact info@cooljapantv.biz.

-

「東京盆踊り2020」是一支與日本最大網紅媒體公司 - Cool Japan TV 共同製作的作品。盆舞舞蹈由國際知名的日本傳統舞踊家 - 孝藤右近編排。

此作品融合亞洲各國及日本的音樂元素，歌曲混沌的能量形成了充滿魅力的流行音樂，並巧妙地描繪了外國人對日式英文獨特及可愛的發音的感覺，跨國友誼及互相理解，以及對日本文化的愛。

盆舞，是多人手牽手，圍圓圈一起跳的日本傳統祭典文化。此曲的理念為，希望全世界的人們一同手牽手祈福和平，一同前往和平的祭典「東京奧運會2020」。

※ 任何作品，活動，商務合作，請聯繫 info@cooljapantv.biz

-

「Tokyo Bon 2020」は、Nameweeと日本最大級のインフルエンサーマーケティング企業「Cool Japan TV」の共同プロデュース作品です。盆踊りの振り付けは、世界的に活躍する創作日本舞踊家の孝藤右近が手掛けています。

本作は、アジアと日本の音楽性が融合した、混沌としたエネルギーが魅力のポップスとなっており、外国人が感じるジャパングリッシュのユニークでカワイイ響き、国境を越えた友情と相互理解、日本文化への愛着が表現されています。

盆踊りは、多人数が手をつなぎ、輪になって楽しく踊る、日本の伝統文化です。本作には世界中の人々と国境を超えて手をつなぐという平和への祈り、世界が一同に集う平和の祭典「東京オリンピック2020」へ夢が込められています。

※ Tokyo Bonとのコラボレーション、日本に関するイベント開催、日本に関するビジネス相談などについてのお問い合わせは、info@cooljapantv.biz までお問い合わせください。

-

數位音樂下載 Online Music Download【亞洲通吃 All Eat Asia】：https://lnk.to/uOINqPTk

0:00 片頭
1:00 歌曲開始

Thanks Artist @dot.dot.labo for thumbnail picture!

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欲網購黃明志最新實體專輯《亞洲通才》及歷年專輯和周邊商品請到。Purchase Namewee Latest 《Asian Polymath》 , Others Music Albums & Merchandises Please log in to https://namewee4896.com/

Namewee 黃明志 Official Facebook Fan Page:
https://www.facebook.com/namewee/

Namewee YouTube Channel Link:
http://www.youtube.com/namewee/

#Namewee #黃明志 #TokyoBon

■English Title : Anpanman slide Big stream somen slider Japan Toy Awards 2016 Excellence Award Tomy
■中文標題 : 麺包超人滑梯巨大的流動素面日本玩具大獎優秀獎
■한국어 제목 : 호빵맨 미끄럼틀 빅 스트림 소면 슬라이더 일본 장난감 대상 2016 우수상 다카라 토미
■中文标题 : 面包超人滑梯巨大的流动素面日本玩具大奖优秀奖

■チャンネル登録はこちら / Channel subscript → https://goo.gl/in9442

■動画内容説明・概要
タカラトミーアーツは、ウォータースライダー型流しそうめんマシン「ビッグストリームそうめんスライダー」を6月2日に発売する。
　“玩具の枠を超えて本格感を持たせたい”という開発者の思いから、「東京サマーランド」とのコラボレーションで生まれたインパクトのあるウォータースライダー型の流しそうめんマシン。実際に、「東京サマーランド」にあるウォータースライダーの技術スタッフの監修を受け出来上がったものだ。
　サイズは約75×58×33cm（幅×高さ×奥行）で、高低差56cm。ウォータースライダー型にすることで、全長3.6mという長さを卓上サイズで実現。テーブルの上でそうめんの長い走“麺”距離を楽しむことができる。重さは2.26kg。
使い方は、水を入れてそうめんを流すだけ。
・組み立てた本体の「プール」の内側にある線まで水を入れる。
・スイッチを押すと、そうめんスライダー内のポンプが駆動して水を上へと汲み上げる。その後、水を循環させるのでスライダー内を流れ続ける。そうめんを適量上から流せば、流しそうめんを楽しむことができる。
・そうめんを取りやすくする「くじらそうめんゲート」を設置。
・付属の「製氷器」で作ることができる氷の「スライダーマン」を流すことでウォータースライダー遊びができる。
・流れる水の音は耳でも“涼”を感じることができる。

■Video Description / Overview
Takara Tomy Arts will release a waterslide type flow Somen machine the "Big stream Somen slider" on June 2.
From think of developers called "toy of want to have an authentic feeling beyond", "Tokyo Summerland" and of a born-impact collaboration waterslide type of flowing somen machine. In fact, the thing that finished received the supervision of the technical staff of the waterslide in the "Tokyo Summerland".
Size is about 75 × 58 × 33cm (width × height × depth), difference in height 56cm. By the waterslide type, realize the length of the full-length 3.6m in a tabletop size. It is possible to enjoy a long run "noodles" distance of noodles on the table. It weighs 2.26kg.
Usage is only flowing somen put the water.
- Put the water to the line on the inside of the "pool" of the body that was assembled.
• When you press the switch, pumped up by driving the pump in the somen slider to the top of the water. Then, because the circulating water continues to flow through the slider. Be allowed to flow Somen from the appropriate amount, it is possible to enjoy the flowing somen.
- Somen to help take the established a "whale Somen gate".
- It is a waterslide play by passing the "slider Man" of ice that can be made in the "ice maker" of accessories.
- Flowing sound of water can feel even "cool" in the ear.

■↓↓↓↓↓↓↓↓次のおすすめ動画/Next Recommend Video/下一個推薦視訊/下一个推荐视频/다음의 추천 동영상↓↓↓↓↓↓↓↓■

Hane&Mari'sWorld | 魔法使いプリキュア おもちゃ | Maho Girls PreCure TOYS | 魔法使 光之美少女 玩具 | 마법사 프리큐어 장난감
https://www.youtube.com/playlist?list=PLXiDlOQjp9BuLW2KPIF_i6w2qmZ_sb4oL

Hane&Mari'sWorld | アンパンマン おもちゃ 紹介動画 | 日本麵包超人玩具介紹 | Japan Anpanman Toys | 일본 호빵맨 장난감
https://www.youtube.com/playlist?list=PLXiDlOQjp9BuF1-qE2UZ_hKcFr3JHFjvR

Hane&Mari'sWolrd | マクドナルド ハッピーセット おもちゃ | McDonald Toys | 麥當勞歡樂兒童套餐玩具
https://www.youtube.com/playlist?list=PLXiDlOQjp9BsErHhmhB8V-w_uo8pOWNoH

Hane&Mari'sWorld | かみさまみならい ヒミツのここたま おもちゃ | Himitsu no Kokotama Toys
https://www.youtube.com/playlist?list=PLXiDlOQjp9BtCrjrdL3rQ7LV6EMuehJyG

Hane&Mari'sWorld | 食玩おもちゃ開封紹介動画 | Candy Toy Chocolat Eggs Review Videos | 日本食品玩具開箱介紹視訊 | 日本零食附赠玩具开箱视频
https://www.youtube.com/playlist?list=PLXiDlOQjp9BsE7XPT_X8rDqiLQ8dSG6GG

Hane&Mari'sWorld | めばえ 小学館の学習絵本 | JAPAN KIDS MAGAZINE Mebae | 日本益智幼兒雜誌 | 日本益智幼儿杂志 | 일본 유아 교육 잡지
https://www.youtube.com/playlist?list=PLXiDlOQjp9BuALZB4fobNF1rHuHPw6aPl

■撮影機材/Photographic Equipment → キャノン Canon EOS 80D + EF-S18-135mm F3.5-5.6 IS USM