proportion of women that are my type.

Talking about physical experience, I am not that demanding. In fact, not demanding at all. The reason is that I like every other woman. A proportion of 50 percent. 

AD POLICE *

 AD POLICE *

1990. Video, TV seri e s . D I R : Aki h i ko Takahash i , Akira N i s h i mori . SCR :

Noboru Aikawa. DES : Tony Ta keza k i , Fujio a d a , Toru N agas u k i . AN I : Fuj i o

a d a , H i royu ki Kitazu m e . M U S : Kaoru Mizuta n i . P R D : Artm i c , Yo umex, Ale. 40

m i n s . x 3 e ps . , 2 5 m i n s . x 12 e p s .

A dark spin-off from Toshimichi

Suzuki's BUBBLEGUM CRISIS, AD Police

concentrates on the AD (vanced) anti­robot crime division of Mega Tokyo's

police force. Leon McNicol, a minor

character in the original series, is part­

nered here with butch lady-cop Gena

in several investigations that play with

ideas of humanity i n a high-tech soci­

ety. The "voomer" robots here are all

female i n the man 's world of the ADP,

where only women who are prepared

to become one with machines stand a

chance in it. Whereas this device was

used in Bubblegum Crisis as an excuse

for girls with impressive h igh-tech kits,

here it is far more misogynistic, as

femininity is gradually eroded by bion­

ics and prosthetics, taking characte rs'

humanity with it. A businesswoman,

for example, is only successful in the

boardroom after she has a hysterec­

tomy, but the trauma turns her into a

serial killer. There are shades of Blade

Runner in the sex-android stalker that

locks onto the man who i njured her,

and there are also blatant steals from

Robocop in the final chapter, wherein

one of Gena's ex-boyfriends receives so

much augmentation that his tongue is

the only part of his original body that

renlains.

Canceled after j ust three of the

planned five episodes, the franchise

was not revived until 1 999, in the wake

of the Bubblegum Crisis 2040 remake, as

a 1 2-part lV Tokyo series directed by

Hidehito Ueda. The new AD Police was

a far shallower affair, ditching many of

the old characters in favor of a buddy­

movie cliche between rapid-response

robot-crime cop Takeru Sasaki and his

new partner, Hans Krier. Clearly made

with half an eye on the overseas market

(all the other leads have foreign names

like Paul Sanders, Liam Fletcher,

and Nancy Wilson ) , the melting-pot

remake is something of a disappoin t­

ment.

The franchise was briefly resurrect­

ed in Parasite Dolls ( 2003 ) , a th ree-part

video series directed by Kazuto Naka­

zawa, focusing on a clandestine branch

of the AD Police, called, somewhat

unimaginatively, Branch. The story

fOCllses on Buzz, an officer like writer

Chiaki Konaka's earlier Ross Sylibus in

ARMITAGE III, who is transferred to an

unattractive new posting and forced to

cooperate with a detested robot part­

ner. Parasite Dolls also exists in a movie­

length edit, which is the version most

commonly found outside Japan. �

se nos acabaron un chorro de cosas

how to wonder more about things, how to be more curious

on the importance of not overdoing or exaggerating things

Noes case

Suricate videoclub

J'vois tes yeux qui s'éparpillent

Veo tus ojos que se dispersan

Je vois ton corps disparate

Veo tu cuerpo dispar

Moi, je vis dans la nuit

Yo vivo en la noche

J'suis pas ton petit suricate

No soy tu pequeña suricata

Donne-moi de quoi

Dame que

Subsister quand je te vois

Subsistir cuando te veo

Donne, donne-moi de quoi

Dame dame lo que

Rester vivant devant toi

mantenerse vivo frente a ti

S'te plaît, s'te plaît, ne bouge pas

Por favor, por favor no te muevas

Je resterai devant toi et je serai

Me quedaré ante ti y seré

Tou–toujours là

siempre-siempre ahí

Pour toi, ton cœur et ta voix

Por ti, tu corazón y tu voz

Et des–des soirs qui disparaissent

Y las-las tardes que desaparecen

Il y en est d'autres qu'on tient en laisse

Hay otros que mantenemos atados

Il est des filles qui s'enlaidissent

Hay chicas que se ponen feas

Sous les cieux gris, sous les cieux lisses

Bajo cielos grises, bajo cielos suaves

Reste encore, reste encore, reste encore, encore

Quédate de nuevo, quédate de nuevo, quédate de nuevo, de nuevo

Reste encore, reste encore, reste encore, encore

Quédate de nuevo, quédate de nuevo, quédate de nuevo, de nuevo

Reste encore, reste encore, reste encore, encore

Quédate de nuevo, quédate de nuevo, quédate de nuevo, de nuevo

Et reste encore, reste encore, reste encore, encore

Y Quédate de nuevo, quédate de nuevo, quédate de nuevo, de nuevo

Putain, voilà, viens le soir

Tu sais, c'est déjà trop tard

Tes vieux mots sont au placard

Et mes iris sont noires

Si je m'en vais, je n'reviens pas

Si tu m'aimais, ne t'en fais pas

De toute façon, n'être qu'à toi

Ne signifie vivre avec joie

Tu m'as brûlée, tu m'as marquée

Au fer rouge, à l'encre pourpre

Je t'ai pleuré, je t'ai hurlé

Fuyant le sort des nuits de doute

Bouton de rose, mort létale

Je glisse lente sur tes pétales

Ces derniers mots résonnent encore

Mais n'oublie pas que plus jamais

Reste encore, reste encore, reste encore, encore

Quédate de nuevo, quédate de nuevo, quédate de nuevo, de nuevo

Reste encore, reste encore, reste encore, encore

Quédate de nuevo, quédate de nuevo, quédate de nuevo, de nuevo

Reste encore, reste encore, reste encore, encore

Quédate de nuevo, quédate de nuevo, quédate de nuevo, de nuevo

Et reste encore, reste encore, reste encore, encore

Quédate de nuevo, quédate de nuevo, quédate de nuevo, de nuevo

Oublie-moi, je t'en prie

Oublie-moi, le temps d'une larme

Ne rêve plus jamais de moi

On ne reprend plus les armes

Assieds-toi, ne pense plus

À mes esprits tombés des nues

Contemple avec ressentiment

Ton abri gris, mon cœur sans vie

Study: Business strategies of companies with longevity of 300 years or longer in Japan

The team found that there are four key factors perceived by the owners of these ancient companies that feed into their ethos: customers and products; owner and employees; management and business credo; and change and risk management. The team also demonstrated that non-economic values and the perception of the company as being part of the wider community (Sanpo-Yoshi) are also embedded in the mindset of these business owners. The various factors have been the driving force for the companies' approach to business, the researchers suggest.