Real Estate Royale - Yakuza Wiki

yakuza 0 real estate staff

yakuza 0 real estate staff - win

[Yakuza 0] Real Estate Staff Greyed Out Stars?

So I'm playing Yakuza 0 and noticed today a few of my staff have greyed out stars.

How can I restore the stars?

Thanks in advance!
submitted by RegularWhiteShark to yakuzagames [link] [comments]

[Yakuza 0] How do you assign staff in the real estate thing?

I'm on PC with a 360 controller, I want to assign staff but I don't have any option to, I can only start collection or view the store list or staff list. Do I have to progress the plot to do so or something?
submitted by Now_Do_Classical_Gas to yakuzagames [link] [comments]

my long review of the entire main series

WELCOME TO MY LONG ASS REVIEW OF THE YAKUZA SEIRES! This will include a shortened version of all of my thoughts and feelings towards all 8 (*note: this review will only cover the main series, so no dead souls, ishin or other spinoff's (tho I might play them in the future)) games and some of their inner aspects. So not reading all of it is completely understandable I just wanted to share them with someone but sadly none of my friends played it so i have nowhere else to do so
one them suggested posting it here and tbh i have nothing better to do so here they are
TLDR; 10/10 franchise I really like the characters, stories, music and gameplay.with that being said, HERE WE GO!
(*note: like I said these are MY opinions and MY lists, if you think otherwise, youre welcome to write it down in the comments I would love to hear your thoughts :))(*note: this review might contain spoilers, with that being said I will try to hide everything that I think might be considered a major spoiler and will put it between [ ] so if you see these be careful)(*note: this review might be a bit scattered and not understandable at times, that's because of 3 reasons: 1.english is my second language, although I like to think im at least conversational, spelling and sentence building aren’t my strong suits. 2. Like I said this is a review of all 8 games so I might scramble stuff in the middle or forget something completely. 3. I first wrote this on word and after transfering it here i noticed there are problems with the spacing and enters, so if you see a lack of space when there should be most likely there was supposed to be a shift+enter, i tried fixing it multiple times but appreantly having every enter where it should be makes it over 4000000 characters long.) So forgive me for those)(*note: if for some reason you would like to see my opinion on something that I didn’t include, you're welcome to ask me to write it :) I might not be able to answer everything but ill do my best to check the comments every so often for a while)
first of all I would like to say that my entry to the series is that a friend of mine bought me a copy of yakuza 0 for pc, little did he know, that would evolve into a crippling yakuza addiction (I bought a ps4 off another friend just to play 3-6). (*note: I know I said "none of my friends play it" that was a tiny lie, I have 1 friend who for 2 years now "is in process" to 100% yakuza 0, so I have no one to talk to about 7/8 games of the series) I came into the series thinking what I believe almost every player thinks before they start playing "oh it looks similar to gta/saints row but Japanese" but, say it with me now! "YAKUZA IS NOT JAPANESE GTA!" what I discovered is a beat'em-up, tear-jerking-story based adventure game, lucky me these are some of my favorite genres! I feel like yakuza has a very sad story not because its actually like sad sad but because kiryu is human, you see him go through life having to go through all kinds of crisis's and problems and its kinda feels like seeing a child grow? Idk, at least for me it sometimes does
now for my top 8 yakuza games (*note: the scores I give them out of 10 and their place on the top 8 might seem weird and "incorrect" because I give some games of lower place higher score then stuff of higher place. That's because when I decide their place on the top 8 I only consider how much I enjoyed it overall. when I give them a score out of 10 I try to give them what I think is a more objective score that includes everything of how fun it was, how much I liked the characters, the mechanics, the story, ect….)
(*note: if I don’t include a character in my reviews that doesn’t necessarily mean that I hate them, it just means that I generally don’t have too much to say about them. Overall I like basically all the main and side cast)
1.Yakuza kiwami 9/10
Lets start with the story,
Imma be real with ya chiefs, I have a pretty small smooth brain. That's why I like simple-semi complicated stories
And here we have a very basic story to follow, 10000000 yen missing, parent of this child missing, find them both. I love that simple, short and to the point but still interesting enough that I spent half my playthrough on the edge of my sit
This game also has the best side-quests of the entire series which are easily pocket circuit & majima everywhere
from the gameplay and mechanic side I also feel it’s the most fun and tight, nothing feels slow, every punch packs a punch and I actually really love (and prefer) the 4 fighting styles and was really sad to find out they were only in 0&kiwami. It has my favorite level up system (I will also include my top 7 level up systems later)
And now for some character reviews
Kiryu-CHAN!- he's by far my favorite character in the entire series, until now I only saw him as a brooding, badass, powerhouse that fucking breaks, shoots, and destroys (god forbid kills nothing like that here) but this was the first time I got to see that he actually has a soft side too and it’s the cutest fucking thing I've ever seen in my entire life. It was the first time I realized yakuza is one of those series that can make me sound like a kettle when I "aawwwwwwwwwwwwwwwwwww" seeing his interactions with haruka, yumi, nishiki and others was almost heart melting. Speaking of which
Majima-I have what I think is a very controversial opinion, which is I don’t like majima in 0 (and I will get to that later). So I really didn’t expect much considering I came to this series blind. And OH BOY! Majima quickly became one of my favourite characters and its really sad for me that I believe they kinda toned him down in later games. [half of my playthrough was running around looking for him and doing all of his stuff, having to fight him as a cop, zombie, idol, hostes in all sorts of different situations was one of the best things about this game]
nishiki-*ahem*,Im gonna fucking cry.
Like I said I came from 0, seeing the journey he went through from #1 jobro (which he will forever be btw) to head of a family he has no idea what to do with, to madness, to evil mastermind was one of the saddest stories of this series. Every head of the nishikiyama family after him only brought shame to his name. [every scene that contained both him and kiryu in the same room made me want to cry. From the moment he declared they are not brothers anymore to the final scene when he shot the bomb]
Haruka-B A B Y
My first thought after seeing her was "ughhhhh fuck an annoying child character to take care of, that's not what a yakuza game should have" but what ended up being is that if anything happened to her I will ̶k̶i̶l̶l̶ hit everybody in this room very hard until all their bones break and leave them unconscious with no way of calling an ambulance or any kind of help and then do that to myself only to protect her.
She is precious, and if you for some twisted, evil, disgusting reason think otherwise you are wrong
[Yumi/mizuki- when Im writing this its been like a year since I played kiwami so I don’t remember every little detail about this character (not that there's too much to remember to begin with) if anything the twist at the end was pretty surprising and her backstory is kinda sad]
[rena/shinji-they both serve kind of the same role so I don’t have too much to say on them separately. Their death (by the hands of the most annoying boss in the series) is kinda sad and like anything else relating to nishiki in this game, rena's death speech about how she always really loved him and wanted to help him in any way possible made me want to cry]
2.yakuza4 7.8/10
This game could’ve easily been an 8.5/10 but there're some stuff that just annoy me a bit and makes me have to retract from its score, let me get into it
First of all,
Although at the start the story didn’t really make sense to me and I thought it was very confusing, now after I played everything and saw how stuff connected together, I realized how amazing it actually is
From akiyama's little relationship with lily
To kiryu helping a refugee
To a laid back cop who gets in to something bigger than himself
And finally back to the actual main character of this series
initially It was very annoying when I found out I only get to play as kiryu at the end of the game but I got over it
On the gameplay side
in the overworld everyone felt really slow to me,it didn’t feel like they were running (like their animation showed) it felt like they were always at the speed of a start of a jog but you kinda get used to it so its fine overall.In the combat side of thingsI really liked how akiyama, tanimura and kiryu controlled. Fast&strong which is why I really like the combat of this series to begin with (I also found it kinda funny that swords in this game are sometimes considered "blunt objects" for some reason so when you use a heat action with them you just smack an enemies head again and again with the blade)
I will use the fact I didn’t include saejima in the list of the gameplay I like as a perfecet Segway to my character reviews
Saejima-although his story really is interesting, kinda sad and heartwarming at times I grew to not like him just because his gameplay is sooooooooooooooooo slooooooooooooooowwwwwwwwwwwwwwwwwww
I don’t know why but I also felt that he was weaker than the rest of the characters? It kinda felt like when the rest of the crew took down 10 enemies in 1 second he took 1 enemy in 10 seconds
I get that hes supposed to be a tank and he has a lot of hp but usually tanks also do lots of damage to make up for their lack of speed
Here its just a "very healthy", slow and weak tank so its just annoying to play [if anything his sister is hot]
Akiyama- his gameplay is kinda like the "brawler" of the game, similar enough to kiryu's gameplay but different (because kicks) also his personality is cool, i would categorize it kinda like a happy go lucky guy but not really
His story is interesting about this mysterious girl named lily who apparently really looks like his ex and he has a picture from his past that shows her. Anyway she asks for 100000000 yen a̶n̶d̶ ̶b̶e̶c̶a̶u̶s̶e̶ ̶h̶e̶s̶ ̶a̶ ̶s̶i̶m̶p̶ and because he really wants to help her, he gives her a challenge.
Tanimura- the counter option was kinda cool ig. His character is cool enough and his story about wanting to find what happened to his father is kinda sweet
I don’t have too much to say about him because he's kinda forgettable in the sense that his story was kind of an open and shut case
He was definitely one of the playable characters of the series but that's honestly the most you can say about him
If anything its kinda sad they swapped him in yakuza 5 but understandable because his story is 100% finished and he has nothing to draw him back considering he isn’t really related in any way to the rest of the cast
Date-I like him but his character rarely changes. In the rest of the series it seems the story writers forgot he quit being a detective
[yasuko/lily-seeing her story unfold was kinda sad, all she wanted for the last 25 years was to see her brother again. At least she got to that 1 last time before she did the bullet walk thing this series lovesssss to do]
One last thing about this game that really annoyed me, the game ends with a happy ending, [saejima is proven innocent, kiryu seems to return to the tojo clan and they all live happily ever after]. When I saw it I thought "oh wow, I wander how they're gonna build upon this?" well, they didn’t, like at all.
This series has 1 annoying problem that the writers team usually completely forget how the previous game ended
3.yakuza3 7.4/10on the story side-
Kiryu only wants to keep his goddamn orphanage leave him alone ffs.BUT NOPE!It’s the yakuza series so every few years it’s always the same thing: something something TOJO something something MONEY something something BROTHER something something REVENGE, oh godly kiryu san mr.dragon of dojima please help me!
The gameplay in the remastered collection stays more or less the same throughout so I don’t really have anything to say here
The characters of this story are a weird bunch
The children of the orphanage- if anything happened to any of them I will ̶k̶i̶l̶l̶ hit everybody in this room very hard until all their bones break and leave them unconscious with no way of calling an ambulance or any kind of help and then do that to myself only to protect them.
rikiya- at the start of the game I thought he was just gonna be one of those bosses that you beat thrice throughout the game and never hear from them again afterwards, what ended up happening is that I discovered just a lovable, loyal, dork of a character [and when he got shot and kiryu started crying I was almost crying with him, definitely one of the saddest deaths in the series because it’s a very unexpected one]
4.yakuza 6 8/10
HOLY SHIT MY BABY HAD A BABY but who is the father? Let's go to Hiroshima to find out! [If only yuta put on a condom]
Jokes aside this is one of the most amazing stories the series ever told
I was originally dreading playing this game because I don’t really like the dragon engine that much (that might be because I played kiwami 2 right after 0&kiwami and was just kind of overwhelmed by it although the graphics of it are amazing, the gameplay feels a lot more wonky to me, I either feel very weak or too strong (usually weak) I got used to it but I actually prefer anything else in the series)
But man did the story really bump up its place in the top 8
Nagumo- im sorry but speaking by role-serving terms rikiya is just kinda the cooler Nagumo (or technically speaking Nagumo is the worse rikiya) he's just a hot headed simp who's the captain of the hirose family but also kind of sweet in a way
If anything he has one very memorable line "yesterday's enemy is today's aniki"
Yuta-[BOI LOOKS LIKE LIVE ACTION KOICHI FROM THE DIAMOND IS UNBREAKABLE MOVIE AND MY BABY STELLED FOR HIM?!
jokes aside I see why haruka chose him, one of the best character's in the series for sure
tho the twist where he's actually the father was kind of apparent from the start]
Kiyomi- she looks like sayama's mom. Like I was 200% sure it was her for like the entirety of the first chapter she was shown in
[Also the thing in the end about kiryu saying he considered daigo as a son is stupid and forced in as hell]
5.yakuza0 7/10
(*note: I think I got a little more to say about this game then the rest cause like I mentioned it was my entry to the series so this may be a little bit of a garbled mess)
So let's start by saying, hands down it has the best overall soundtrack (*note: I will get to my top 15 songs later) consistently very high quality while the rest of the games have like 1-3 outstanding songs in them this one has: the intro, judgement, the best version of baka mitai (*note: I only discovered that the meme originated in yakuza like half-way through its life span) (*note: I saw on here some time ago that one of the top posts is a screenshot of a tweet from kiryu's VA that says he's very pleased that people are singing his song and I find that very heart warming and wholesome), 24-cinderella and so, SO many more.
Now… from the story side of things…..
Im sorry to say this but I don’t really like majima's story in this game. Out of every other playable character in this series majima's story in this game felt the most like a filler to me. The first like 4 of his chapters could've easily been skipped with nothing of value to the overall story lost. Having to switch to him every 2 chapters was very annoying. Actually It annoyed me so much that in the middle of zero I kinda just dropped the game for like half a year+ because I just didn’t feel like playing as majima [it was after the cutscene where nishiki betrays kiryu but doesn’t want to shoot him]. Tho his relation-ship with makato is easily the saddest, most tragic thing to happen throughout the entire series. But like… idk I really preferred playing as kiryu 100% of the time
On the gameplay side of things tho
Definitely one of the better, like I said I really like the fighting styles so having 8 of them (well 6 technically since I basically didn’t touch the real estate nor the cabaret) was really fun
Brawlethug-very basic, close enough to the dragon fighting style if that's what youre looking for but very boring nonetheless
Rush/breaker-rush fucking sucks, on the other hand I find breaker to be very funny and I used it most of my time playing majima
beast/slugger-beast is easily the best fighting style in the game, it’s a tiny bit slow but it gives back by being a fucking powerhouse being able to lift giant object's and using them as very fast hard hitting weapons (*ahem* *ahem* thisiswhatsaejimashould'vebeen*ahem* ahem*) on the slugger side I only switched to it when I saw that I couldn’t just style on my enemy to win and had to actually "play the video game"
now for the character's
makoto- I A M G O I N G T O F U C K I N G C R Y
nishiki- [ kiwami spoilers>>R.I.P best jobro, once again im going to fucking cry everything in this game makes me want to cry], his relationship with kiryu is easily one of the best parts of this game, from the little comments he makes about kiryu's wardrobe to [him saying he's not interested in climbing up the ranks without kiryu] everything that makes him easily the best follower in the entire series.
majima- I didn’t know what was coming so I just assumed this was kind of his character.looking back at it im kinda disappointed they didn’t try to do something else with him and instead they just kinda made him a simp to the yakuza [also it was kinda stupid to me how they didn’t find a way to bridge him into the crackhead he is in the rest of the series (they totally could've btw) instead making him just choose to "live crazier than any of 'em" (but thinking about it again honestly I feel like making majima choose to be a crackhead just because he wants to kinda fits his character)]
kuze- *insert how many times do we have to teach you this lesson old man meme*
6.yakuza LAD 8/10"YOU BITCHES EVER HEARD OF PERSONA 5?"was probably the first line shouted by the director of the series in the first boardroom meetingthe story of this game follows ichiban kasuga trying to prove his loyalty and powerand goddamn smashing those goalsits kinda weird because I feel like I have nothing yet so much to say
Gameplay wisefor some reason they decided to change it to an rpg probably after the director played P5R for too long because like I indirectly said… almost everything here is persona 5,the ui, combat, life skills and so on and so forth. There are even social links for crying out loud.
this game might've been a 9/10 if only there wasnt 2 giant grind moments in the latter half of it
[specifically before the majima&saejima boss fight and kiryu boss fight]
Character review
Ichiban- I saw a meme somewhere that said ichiban is "cooler nishiki", HELL NAHthose 2 are completely different characters each with their own reasons to make me depressed. Defiantly in the top 3 protagonists of the series which goes like 1.kiryu 2.majima 3.ichiban [before i started the game i was 200% sure he was gonna die, luckly he didnt, yet]
Adachi- before I started this game and only saw the art I was 100% sure it was the guy who taught slugger to majima in 0 (the weapon maker from the noodle shop).he's not.Good follower tho
[Joon-gi han- imma be real with ya chief, I forgot he died. And until kiryu said it was a double I was sure it was the same dude, he's not, still cool tho]
[kume-LITTLE SHIT SHANKED MASATO AND DIPPED WHY DONT I GET TO BEAT THE SHIT OUT OF HIM AGAIN!?]
I feel like I should have more to say about the rest of the MC's, but I got nothing. I love all of them but I don’t have anything outstanding to say.
also this game has the top 3 best girls of the series which are: 1.seong-hui 2.sumire sawa 3.saeko mukoda don’t @ me
7.yakuza5 thekomakitigerdropisbrokenasallhell/10
Once again with 4 different character's, each with their own story that finally combines into one somehow
on the gameplay side
Like I said kiryu has the best moves in this game then the entire series
The counter allowed me to cheese out enemies I couldn’t really fight. And the komaki tiger drop allowed me to delete half a bosses health bar in one hit So usually a boss would last about 2-6 tiger drops
His story revolves around just being A NORMAL GODDAMN TAXI DRIVER LEAVE HIM ALONE FOR FUCK SAKES and going through a midlife crisis
Akiyama stays mostly the same
They did fix saejima a bit but still it was a drag to play him, not only that but the entire thing where he stayed in the small village for like a full chapter was very annoying and was clearly made just to drag out his story
HOLY SHIT MY BABY IS A PLAYABLE CHARACTER, when I originally saw haruka on the splash screen when you open the game she kinda has a fighting pose so I thought that she maybe learned a thing or two while watching kiryu
NOPE, I HOPE Y'ALL LIKE RYTHEM GAMES CAUSE THAT'S ALL SHE DOES!, personally im ok at them but not that good so I played only the stuff I had to do with her
[tho the twist at the end of her story about majima being park's ex husband, MAN I DIDN’T SEE THAT COMING]
And then there's shinada....
I honestly don’t know what to think about him.
He's an ok character overall but his story seems so unrelated it kinda seems to me like they just shoved him in there because they had some problem with having only 3 character that can fight. His gameplay is fine enough but sometimes it kinda felt weaker then it should be? Idk. His normal punch and grab combo is mediocre+ - ok- nothing more than that. His staff doh allowed me to cheese enemies and getting them into an infinite loop of being knocked down again and again
Another thing I can say about this game is that the character models eyes always look on the verge of tears and it seems very funny to me that at any given moment most of the cast looks like its about to cry cause im sitting here ready to do the same
8.yakuza kiwami 2 6.9/10
Man what a disappointment.
I came to this thinking its gonna be as good as 0/kiwami and my hopes were crushed
Like I said I don’t like the dragon engine that much so moving to it after the engine of the 2 previous games felt really weird
The story of this game although very heart warming at the moment youre playing it, is quickly forgotten about and basically un-canonized in the rest of the series [at the start of yakuza 3 sayama departs to America and never returns, in yakuza 6 it is mentioned that yumi is the only woman kiryu ever loved and that he never killed anyone (although ryuji goda died by his hands)]
Don’t get me wrong its still a very good game just not as good as the rest of the yakuzas
Now for the characters
Sayama- although story wise it seemed very sudden that they started dating, it was apparent from the start that something is gonna happen between them. Once again it was a sign that yakuza is one of those series that can make me sound like a kettle when I "aawwwwwwwwwwwwwwwwwww"
Ryuji- one of if not the best villain of this series. That's because he's not actually evil but he knows there can only be one dragon so hes gonna fight for it. He actually has honor and some sense of justice. [the ending tho where sayama is crying because she finally discovered she has a brother but now he and her lover need to fight is very depressing, good thing it was all forgotten amirite? (pleasekillme)]
Now for my top 7 level up system's because this series cant ever just stick to 1
1.yakuza kiwami
It’s the only one I managed to fully complete so I might be a bit biased, but I feel like the exp/level system that is different for each fighting style is perfect. Unlike in the rest of the series where there's only the dragon fighting style that separates into body, soul, heat and tech.
2.yakuza 3
it’s very simple and doesn’t really lock out any abilities that you really need
3.yakuza 4
it locks some stuff out on the start but you can get them pretty easily
4.yakuza 5
Kinda just a worse version of 4
5.yakuza LAD
I actually like the fact every battle upgrades everything at once and I don’t really have to think about if something is better than anotherthan again you can make the case that it removes any sense of choice from the game (at least speaking in level up terms)
6.yakuza 0
Although you get like 500000 yen per basic group of enemies, I still feel that money and levels shouldn’t corelate, especially when I need hundreds of millions for some of the side-quests (*ahem* *ahem* pocket circuit *ahem* *ahem*) also, tho it makes sense canonically, I feel like the trainer system of this game specifically is kinda stupid and annoying, never really bothered with it doh considering how much beast is a powerhouse even when its only upgraded with the stuff you don’t need to unlock
7.yakuza 6 & kiwami 2
Its too separated, having all those different exp points is stupid, I always had like 2 sections that were lagging behind the rest.
I would like now to give a quick shout-out to the top 4 side-quest's in the series1.pocket circuit 10/10
I got too addicted to it both in 0 & kiwami, 95% of all my early game money was either spent/saved for pocket circuit
#pocket_circut_fighter_forever
[when I saw kiryu reminiscing on being kamurcho's fastest in kiwami's baka mitai I fucking died laughing]
2.majima everywhere 10/10
Basically doubled my playthrough's length because I always wondered what kinda whacky ass shit majima is gonna pull next. He's the best character in that game 100%
3.taxi racing 10/10
I did it all in the same game day so I like to think that in 1 night kiryu beat all the devil killers.
Shock that it reminds me of intial-d, who would've thought right? Jokes aside the car controls in this game are really fun
4.dragon kart 10/10
I would like to believe someone ran in the idea room and was like "GUYS, SO UNTIL NOW WE PLAYED PERSONA 5 100% OF THE TIME, GET THIS, WHAT IF, MARIO KART?!"and then everyone clapped
Now…
There's 1 aspect that I pretty much barely mentioned in this review and you might even be asking yourself where is it?
So without further ado
My top 15 songs from the yakuza series
Why 15? Cause that's how many songs I personally find to be fucking bops and the number of songs that I put in my playlist
(*note: don’t take it too much as if its in numerical order, I kinda tried to do it as such but that's kind of a lot of songs (the longest section in my playlist at least) and I really love all of them so it was hard to choose. Maybe try to look at it more of as a list then a top 15)
1.get over it-yakuza kiwami
It’s the only REALLY good song in this game (*note: not the only good one, the only REALLY good one)
Man that fucking guitar section in the middle, you know the one im talking about.I apologize for bringing jojo into this but I feel like if kiryu was a jojo this would easily be his theme (and that guitar section is like giorno piano)
2.destiny-yakuza 6
V I O L I Ncoming in in a VERY close second is destiny from yakuza 6I originally thought someya to be one of those bosses you just beat like 3-4 times throughout the events of the game then never hear from again and just remember him as that one asshole from that yakuza game. But MAN then this theme hits in his final fightand O O F[and right after the fight when he begs you to kill him to save kioymi, I have yet to actually cry during the events of this series but its really trying to make me do it and im 100% sure eventually I will]
3.machinegun kiss-yakuza4&5
I have a story with this song that the first couple of times that I listened to it I thought it was very mediocre, then one day I just got a vibe to listen to it 1 more time, at which point it got stuck in my head for about 3 weeks-month and it shoved its way up here.
4.judgement-yakuza 0
In case you haven’t noticed I really like buttrock
[I read a comment somewhere that said kiryu can no longer sing this after 0 because its not the same without nishiki, excuse me when I UGhhhHhHhHhhhhhhhHHhhhHHhhhHHhhHhhhhHhhhh]
5.clay doll on the cradle-yakuza 3
It has a pretty weak start but becomes really good really fast
6.comin'at ya, my girl-yakuza 5
As much as I don’t really like haruka's gameplay in 5, this is the best song in the game, sue me
  1. 24-hour cinderella-yakuza 0
Started listening to it because it’s a funny meme song
It got stuck in my head for 2 weeks
8.tears of a father-yakuza 3
When the credits hit after THAT cutscene and this song starts to play, "the father" is almost not the only one to shed tears
I only found out its called "tears of a father" while I looked it up after, and that was the point my heart had to get replaced because the previous one died
9.baka mitai-yakuza 0/kiwami/5
Do I really need to explain?
10.speed star-yakuza 4
A really pumped up default fight theme
11.intro-yakuza 0
I have a meme with some of my friends about the first 4 notes you have to hear before being able to skip it
(*TA NA, NA! WAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA*)
12.infinite handcuffs-yakuza 4
Another pumped up normal battle theme
13.today is a diamond-yakuza 6
*insert funny kiryu thumbs up*this song seems so happy and upbeat until you realize that according to it the singer is singing it to his lover that is in a coma[kinda fitting doh]
14.Friday night-yakuza 0
Once again, started because of a meme, continued because it’s a bop
15.[majima construction anthem]-yakuza kiwami 2
All rise for our national anthem.
One of the best things to come out of this game.
Surprisingly enough there weren't any outstanding songs in lad

AND THAT'S IT!
As a little conclusion, I would like to say I would've never imagined I would be as much in to this series as I am now, definitely one of the best game series's of all time and im really sad its not popular as it should be
Overall 10/10 series
So many good memories were formed and I can 100% see myself replaying it in the future
If you actually read all of it,
Holy shit thank you I wouldn’t be able to do that myself :)
And even if you just schemed through it and only looked at specific sections,
Thank you as well
Like I said if you wanna ask me about something I didn’t already write or wanna give your own opinion on one of my opinions youre 200% welcome to do so in the comments, ill try to answer most of the stuff i see
Well, I have nothing to add, see ya!
submitted by iluminubis to yakuzagames [link] [comments]

[50YA] 50 Years Ago - August 1969/2019 - The Cat and The Hippo

50 Years Ago is a monthly/semi-monthly article series that discusses notable anime from 50 years in the past, roughly aligned with the current month. With this series, I hope to expose classic old anime to younger viewers and give some light education about the early age of anime. For previous 50YA articles, try this search criteria.

50 Years Ago This Month

You might have noticed by now that a lot of older anime studios were based around a single artistic personality. Ashida Iwao for Ashida Pro, Tezuka for Mushi Pro, Tatsuo Yoshida for Tatsunoko Pro, Kihachirō Kawamoto for Shiba Pro, etc. Heck, there are a good three or four studios associated primarily with Masaoka Kenzo. This made sense for small studios that were owned and lead by a particular individual, especially if they're already famous, and we still see the same thing with many small production studios today.
But notice how these figure are all from some sort of top-billing role like director or manga author? It seems like if you come to own a studio and your background is as a writer, or an editor, or a producer, too bad - slap some letters on that studio (like TCJ, or TMS, or just A) and forget about any personal prestige in the annals of history.
Well, too bad, because today we're talking about Hiroshi Ōkawa, the one-man impetus behind the creation and prominence of no less than mighty Tōei Animation itself. And while we're at it, we'll take a look at the other personification of Tōei Animation - their mascot Pero, or more specifically his film The Wonderful World of Puss in Boots.
 

Origins

The history of Hiroshi Ōkawa is, in essence, the history of Tōei Animation itself. Unlike Ryuichi Yokoyama, Osamu Tezuka, Tatsuo Yoshida, and other early anime studio heads, Ōkawa was not a manga artist. In fact, he didn't have any sort of artistic background at all. Ōkawa had begun his career as an accountant for the Ministry of Railways before leaving to work for the Tōkyū Corporation (aka Tokyo-Yokohama Electric Railway Company, sort of; the distinction between them is a bit complicated, so from here on I'm just going to refer to it as Tōkyū Corporation). Tōkyū Corporation was (and still is) primarily a private railway company, but with numerous investments and subsidiaries in other related industries such as retail, property and entertainment. Their philosophy was to use the property company to build shopping malls and entertainment venues at or next to train stations, encouraging people to use their train lines, and conversely for the proximity of the train lines to encourage more people to shop at and visit their malls and events.
Animator Yasuji Mori would later describe Ōkawa as a pompous, hulking man who struck fear into his subordinates, and states that Ōkawa was called "The King Hippo" by Mori and perhaps other Tōei staff, though not when Ōkawa was within earshot. Other animators have described him as being boisterously cheery, and yet more describe him as more of a taciturn intellectual. It's unclear, then, what sort of personality Hiroshi Ōkawa really had, though seemingly every account agrees that he did not have much of a sense of a humour.
By 1947 Ōkawa had worked his way up to a middle-executive position within Tōkyū's railway division and he was then assigned to manage a baseball team that Tōkyū had just purchased - the Tokyo Senators, now redubbed the Tōkyū Flyers. This seems to be Ōkawa's first major role in the world of business entertainment and he took to it with aplomb, transforming the Tōkyū Flyers from being a simple occasional outing for audiences into a sports-entertainment enterprise with concessions, merchandise, season tickets, special events, and other ways to encourage a more devoted fanbase (and for those fans to spend more money). He also moved the team from Bunkyo ward to Setagaya, where their new stadium was, of course, right along one of Tōkyū's train lines.
In another attempt to expand their business portfolio, Tōkyū had created their own film company, called Toyoko Film Company (Toyoko being a contraction of Tokyo-Yokohama) and had purchased a handful of other film production and distribution companies, including Tokyo Film Distribution and Ōizumi Films. Much like the retail property and baseball subsidiaries, these media companies were inteded to synergize with other Tōkyū businesses - Tōkyū films would be shown in Tōkyū cinemas inside Tōkyū shopping malls connected by Tōkyū trains.
It should be noted that this expansion by Tōkyū into other business sectors was not a novel idea - Tōkyū was essentially mimicking the prior success of several other railway companies, and in paritcular the railywa, real estate, and media tycoon Ichizo Kobayashi who had made his fortune from the land along the Tokyo-Osaka rail line. Just as Kobayashi had built stores and theatres (in particular, the famous Takarazuka Grand Theater) along railways in the 1920s and '30s, then expanded to further into the theatre and media companies presenting at those theatres, now Tōkyū was building shopping malls and cinemas, and trying to produce films of their own for their own cinemas. Kobayashi had eventually consolidated his handful of media companies into a single entity - Tōhō, one of Japan's juggernaut film companies of the 20th century.
Following his success with the Tōkyū Flyers, Ōkawa was next assigned control of Tōkyū's jumble of media subsidiaries, most of which were outdated, understaffed, and had a combined debt of approximately one billion yen. Ōkawa himself described the situation as a lame three-legged race. Nevertheless, he set to work rebuilding and revitalizing these acquisitions. He used his leverage and success record to acquire loans and investments which he used to refurbish and modernize the dilapidated companies. He head-hunted actors, directors, and tradesmen as they returned to Japan from Manchuria, and also poached talent away from Tōhō, which was undergoing labour disputes at the time. And much like Kobayashi had made Tōhō, Ōkawa rebranded these disparate companies as the singular Tōei (a contraction of "Tokyo" and "Eiga" (Film), but not to be confused with another company actually named Tokyo Eiga that was created by Ichizo Kobayashi after he bought Tonichi). With film production finally underway but distribution difficult for a new industry upstart, Ōkawa partnered with Tōhō, offering to produce the lesser "B film" in a series of double features. Despite taking the bottom half of each double feature billing, this ensured a regular theatrical release schedule and widespread showings of Tōei's films in its earlier years, exactly what they needed to get on their feet and start paying back loans. Within a few years, Tōei's production capabilities had solidified, it had attracted enough talent, and its name was well-known enough that it cancelled the deal with Tōhō and became a fully independent film company in its own right alongside Tōhō, Shochiku Nikkatsu, and Daiei.
Ōkawa is said to have always been trying to predict future trends and look for entertainment genres or niches that Tōei could fill. This lead to Tōei producing numerous horror films, period pieces, and yakuza films, topics which were not explored much by the other major film companies. It is also, perhaps, one reason Ōkawa ventured into animation.
 

The Gamble

In 1956, under Ōkawa's leadership, Tōei entered the animation industry by buying the fledgling animation studio Nichidō. Nichidō, full name Nihon Dōga-sha (Japanese Animation Company), had been created by Masaoka Kenzō in 1947 as a distinct independent studio separate from his obligations at Tōhō's own animation division, and many of the staff at Nichidō were former Tōhō staff who had quit or been fired during Tōhō's labour disputes. Nichidō had initially thrived in its first couple years, but suffered greatly from economic austerity measures implemented in 1949. The studio continued to eke out an existence of intermittent small projects over the following years until the acquisition by Tōei. Nichidō became Tōei Animation, and like the other film companies that initially madeup Tōei were refurbished with a state-of-the-art workplace (Yasuji Mori wrote at the time of his excitement at them finally having a flushing toilet).
Ōkawa's ambition wasn't just to acquire and update the studio, though. He was aiming for Disney - a new full-colour theatrical feature film every year, and then two every year, as well as short films and advertising projects. Some sources suggest that Ōkawa was already anticipating, to some degree, the forthcoming demand for animated television series, as well. The former-Nichidō staff, having spent the last years frequently working other jobs to survive in-between animation projects, were reportedly dubious of Ōkawa's expectations but happy to be getting regular animation work again. The new Tōei Animation completed a variety of short films and commercial works over the next year while more staff were recruited and trained, and then work began on 1958's Tale of the White Serpent (Hakujaden, aka Panda and the White Serpent when it was screened in the United States) - the second ever anime feature film, the first colour feature film, and several other notable milestones. The next year saw the release of Shōnen Sarutobi Sasuke (aka Magic Boy), and then Journey to the West (Saiyūki, aka Alakazam the Great in the United States) the year after that. Ōkawa deliberately emphasized the comparison between Tōei and Disney's feature film output whilst advertising to hire more animators, even while the production of Hakujaden was still ongoing, netting hundreds of applications from aspiring animators and letting him hire the best from among that pool. By the end of the 1950s, Tōei Animation had grown within only a few years from dozens into hundreds of staff, while the next largest studio (probably Otogi Pro or perhaps Ashida) numbered perhaps a couple dozen.
It is interesting that two of these first three films are based upon a Chinese folktale and a famous Chinese novel, respectively, rather than following the Japanese period dramas of many of Tōei's live-action films or European folktales like Disney. It seems Ōkawa had at this time already been pursuing international audiences, especially in China where Tōei's live-action film production was already engaged in co-production with partners in Hong Kong. The choice of Chinese subjects was an attempt to win over audiences in China, though ultimately it seems that the Chinese audience was not particularly interested. These first three films were also sent to air in the United States, but didn't generate the kind of fervent demand for more Tōei films on par with Disney that perhaps Ōkawa had hoped for.
Even so, Tōei Animation's momentum continued on, growing in size and scope each year. By 1963 the company was large enough to divide its staff into multiple projects, including two concurrent theatrical films and their first television series.
Around this time, Tōei ceased being a subsidiary to the Tōkyū corporation. Tōkyū's founder, Keita Goto, had passed away in 1959. Apparently, Ōkawa had expected to succeed him, but was passed over. Friction developed between Ōkawa and the new Tōkyū leadership, and Tōei was eventually cut out entirely as an independent company under Ōkawa. Oddly enough, Ōkawa still maintained control of the baseball team, too. They were transferred to being a subsidiary within Tōei itself in 1954 and renamed the Tōei Flyers. Tōei continued to own them until they were sold to Nippon Ham in 1973. If Wikipedia is to be believed, Ōkawa convinced the former Yomiuri Giants manager Shigeru Mizuhara to become the manager of the Tōei Flyers in 1961 by using his movie connections to get Mizuhara drunk.
Anyways, despite losing its corporate umbrella, Tōei continued its operations unabated. Thirteen years after its founding, Tōei Animation produced The Wonderful World of Puss in Boots, another film in a now-long line of successful Tōei animated theatrical feature films, and the film which would give them the mascot they still use today.
 

The Anime Itself

Loosely based on the European fairytale (particularly Charles Perrault's version), The Wonderful World of Puss in Boots (Nagagutsu o Haita Neko, note the Japanese title translates to just Puss in Boots) tells a tale as old as time: a wisecracking, swordwielding anthromorphic cat talks an uneducated farmboy into fighting Satan over a princess he falls for off-screen. Yes, there's a few changes from the original fairytale in this version, most noticeably that the Ogre which Puss in Boots outwits is replaced by literally Satan himself, who also now kidnaps the Princess, and rather than be simply outwitted into transforming into a mouse and eaten Satan must be defeated through a gruelingly long battle of athleticism and swordsmanship. These plot changes from the original tale were a good decision as they tie together what were previously a bunch of unrelated incidents in the fairytale into a cohesive plot.
Also, while the fairytale has only Puss in Boots as its protagonist and his master is little more than a plot device, this film opts to portray them as equal-billing co-protagonists. In this version eponymous cat is named Pero and his "master" is instead a disowned farmboy named Pierre whom Pero meets and befriends early in the film. Overall, these are good changes, too - the interaction between the two protagonists pads out the film and gives the events more narrative weight than if we were just watching Pero solve everything.
However, while Pero and Pierre share screentime equally enough, they're involvement within the narrative are both unbalanced. In the first half of the film Pierre is a bland, unmotivated, and unemotional lout who is told what to do by Pero far, far more than he ever speaks for himself. "If you really love the princess..." sings Pero to Pierre, ignoring that Pierre hasn't ever spoken about the princess so far except to agree with Pero's assertion that she is beautiful the one time they briefly saw her chariot roll by. Once Pero has finally badgered Pierre into trying to marry Princess Rosa (again, by fighting Satan) and conned everyone else into believing that Pierre is capable of this, though, the balance flips and now Pierre is the main focus of the story while Pero has little to do but back him up in a fight. There's also a sizeable narrative gap around the middle of the film where Rosa and Pierre fall for each other and Pierre becomes a skilled, confident swordsman, all in the span of about 5 minutes.
The weakest aspect of the film is the characters themselves, as none of them are particularly complex or novel. Pero is the best the film has to offer, but you've seen plenty of other happy-go-lucky smart fellows before. Pierre practically has no personality for the first half of the film, and is a generic heroic adventure boy for the second half. None of the secondary characters have much personality to speak of - Satan is your classic evil-for-evil's-sake villain, the King is just greedy, and Princess Rosa gets literally trapped in a tower at one point.
But, if you can make it past those narrative faults the rest of the film is pretty great. Pero gets several fun opportunities to solve problems through his wit, Satan is suitably menacing, Pierre gets some actual badass moments, and I would say the comedy and action are well balanced all throughout. There's also a recurring subplot of three assassin cats hunting down Pero which I think the film uses excellently, always bringing them back at the least opportune times for our heroes.
Structurally, some viewers may find Act 3, which is taken up almost entirely by the confrontation with Satan, to be unnecessarily long. It is long, consuming roughy half of the film's runtime, but I personally didn't feel that it overstayed its welcome. It certainly helps that Satan's castle is full of spiraling towers, perilous walkways, and building-size mechanisms so the setting doesn't get stale.
Where the film shines the most is in its comedy. All the action scenes are punctuated with plenty of physical and slapstick humour. There's a lot of great use of repetition in these jokes, too - my absolute favourite is in the first fight scene where one of the assassin cats bends his sword and we get a brief deadpan cut-away to him trying to flatten it on an anvil, then moments later Pero bends his own sword and we get another cut-away in the same timing. A lot of the visual comedy seems like it could be inspired by Chuck Jones' Looney Tunes (there's even some instances of characters being flattened or running off a cliff and looking down, Coyote-style), but more importantly I feel this film embodies one of the tenets of Chuck Jones' signature style, namely to always consider where there's an opportunity for another joke. The visual design in Puss in Boots incorporates tons of subtle jokes that aren't referenced by the script, such as Satan getting down from his throne via an enormous slide.
The animation itself is no slouch, either. Characters are expressive, the choreography of the fights is surprisingly complex, and there's a surprising number of detailed cuts that didn't really need to be that detailed. Take a look at this hand, for example, which hardly needed to be that detailed for the brief moment it was on-screen. There's also plenty of camera motion, non-lateral movement cuts, and even this impressive 360-degree camera rotation. Also this shot, which might be the first instance of the now-classic upside-down-falling-with-other-objects shot.
Visually, the film is a treat through-and-through. It showcases the best of Tōei's visual design, creativity, and craftsmenship, honed after a decade of producing feature films. While the plot and characters may be simple, it's the technical expertise and its keen integration into the script which elevate this film into a superbly enjoyable ride.
 

The Legacy of Success

The first ever feature-length anime film was the wartime propaganda film Momotaro's Divine Sea Warriors, funded by the Japanese Navy and produced pretty much explicitly as propaganda. But there were no more feature films to come in the entire decade after World War 2 (there's speculation that a version of Princess of Baghdad did, but no one has proved it so far). The one film that might have come close - The King's Tail, allegedly originally planned to be just under an hour long before the head of Tōhō forced it to be cut down to thirty-three minutes - was never even screened. There were several studios with dozens of animators leftover from the war, but all they could seem to produce were black and white short films used to pad out live-action cinema bills, and most of them were teetering on the verge of bankruptcy. Meanwhile, with foreign imports allowed again the cinemas had no shortage of multi-million-dollar, full-colour Disney feature films coming in from Hollywood. A few years later, the celebrity animator Ryuchi Yokoyama would tell a young Osamu Tezuka that animation is just a novelty, but never a money maker. Putting ourselves in the context of this era, it certainly begs the question:
What the hell was Hiroshi Ōkawa thinking?
Somehow, Ōkawa looked around at the handful of tiny animation studios, most of which were in arrears, and thought "I need to buy one of these!". He saw the full-colour Disney films made by huge staffs and enormous budgets, knew that Momotaro was the closest anyone in Japan had ever come to that, and thought "Sure, I can make that."
Whether Ōkawa saw some business justification his rivals didn't or he was motivated by just sheer ambition, either way Ōkawa pursued that opportunity which none of the many older film companies or animation studios had opted to take. He achieved his goal of regular theatrical feature films within a few years, and a decade later Puss in Boots was just the latest, greatest film in an already-long line of successful studio ventures. It's no exaggeraton to say that without Hiroshi Ōkawa there be no Tōei Animation, and that the anime industry itself would not have flourished so rapidly.
Pero the cat might be the mascot of Tōei Animation, but Hiroshi Ōkawa undisputably is Tōei.
 

But Also...

That being said, the road from Nichidō to Hakujaden to Puss in Boots was not always a smooth one, and if we are praising Ōkawa for his ambitions and successes, we should also acknowledge his shortcomings.
Ōkawa's initial plan of dividing the staff into self-replicating workgroups mixed with experienced and junior animators worked well at rapidly training the large number of new staff hired in the first few years of Tōei Animation, but it also made for a messy company structure with unclear or uneven seniority, responsibilities, or distinction between skilled employees and those still "in training". Perhaps owing to Ōkawa's background in railway conglomerates, employees at Tōei Animation were paid according to their level of education, and were paid more if they had transferred in from another Tōei/Tōkyū company, rather than being paid according to the position they actually performed. Furthermore, men were paid more than women. This invariably lead to complaints when talented animators that had joined Tōei Animation with only a high school degree were outperforming but still being paid less than employees that had come from other Tōkyū holdings.
Meanwhile, there was also a significant divide between Tōei's salaried full-time staff and their paid-by-cel freelance workers. As workloads increased, especially with the scheduling nightmares resulting from weekly television production, freelance workers could at least expect to be paid for their additional work, but the salaried employees were expected to work late over and over again without any overtime pay.
These and other factors resulted in numerous strikes and labour actions at Tōei Animation throughout the 1960s, especially a series of short strikes in December of 1961, to which Ōkawa responded with a 4-day lockout of the studio. Ōkawa did eventually accept most of the union's demands at that time, and this in turn lead to a preference for hiring freelance workers over salaried employees from then onwards.
This preference for freelance workers allowed Tōei to adapt more readily to shifting workloads and "killer weeks", as well as offset some of the union demands related to salaried employees, but it was also much easier for those freelance workers to depart quickly, or to split their time between Tōei and another studio. By the mid-1960s, along with its hundreds of employees Tōei Animation now had a steady mob of producers and aspiring studio heads encircling the building, luring newly-trained Tōei employees to their own attic animation studios. Ōkawa's training system had grown his studio to the size needed to sustain the film output he desired, but that made it a lodestone for anyone else looking to scoop up talent, while the labour disputes and preference for freelance employees motivated Tōei's employees to accept these offers. Ōkawa had inadvertently wasted a lot of time and money on effectively training the employees of his rival studios, hence the moniker given to Tōei Animation - Tōei University.
We must also acknowledge that Ōkawa's goal of producing primarily Disney-esque adaptations of folktales, fairytales, and similar inoffensive, family-friendly content stifled the creative ambitions of the Tōei Animation staff who aspired to produce more adult-oriented, socially-relevant, or even just visually experimental works. Ōkawa did not engage with Japan's growing independent animation movement nor seek out possible unfilled niches for animated adult entertainment - even though he had seen previous success with his live-action film business doing just that. Hence, young creators who aspired to create anything other than the kind of works Tōei was already producing were motivated to seek out opportunities elsewhere, once they'd learned all they could from Tōei University.
By the end of the 1960s Tōei Animation was still the largest anime studio, but no longer the indisputedly most prestigious or most lucrative, as it had once easily claimed. Instead, it was beset on all sides by challengers that Tōei itself had trained, and some of whom were willing to take big risks and explore new entertainment niches the way Tōei themselves once had.
Ōkawa passed away in 1971, leaving behind a complicated legacy. Unlike his rival mangaka-turned-studio-owners, Ōkawa has no personal artistic output of his own for us to engage with or evaluate - i.e. Tezuka might have bankrupted Mushi Productions, but we can set that aside and focus on his artistic legacy, but Ōkawa leaves us no such option. His business operations are all that we have to consider, and it can be difficult to view business dealings as having the same rippling-down impact on the history of the medium as a visionary director or lauded classic work. Furthermore, Ōkawa did not always achieve his lofty ambitions, and his manner of doing so disaffected many people in the industry. But Tōei Animation still stands today, as do many of the studios founded by the students of "Tōei University". Like him or dislike him, The King Hippo certainly made a big splash.
 

Where Can I Find It?

A DVD release of the movie was made in 2006 with both Japanese and English audio tracks, but it can be difficult to still find copies.
 

Article Notification

Since these articles are only posted once a month (or two... or three...) and not even on any particular day of the month, if you'd like to be notified whenever a new one is posted simply let me know below or via PM and I'll summon/PM you whenever future articles are posted.
submitted by aniMayor to anime [link] [comments]

Keep ALL your money - SGI doesn't need it

When I was an SGI member, I asked my leaders if my donations were going to the New Komeito Party in Japan. I was told no, that the American members did not even donate enough to cover all of our own expenses, things like salaries for the full-time American leaders, operating expenses for the American community centers. I was told that we members in the U.S. were subsidized by the Japanese members. As SGI does not disclose its financial affairs to members, who knows what the real story is. Source
Obviously, the Soka Gakkai in Japan has no problem whatsoever paying for its SGI-USA colony to exist in the US, so you might as well keep your money - it's a guarantee that YOU need it more than IKEDA does. Ikeda wants your money (and your lives), of course, because he's insatiably grasping and greedy, but he won't even notice if you keep it for yourselves - he isn't aware you even exist. And don't let your SGI leaders guilt you into donating! SGI's already chosen to pay the bills without problem or complaint, so let them continue!
More sources that the Soka Gakkai in Japan is subsidizing the foreign colonies:
I clearly remember when I made my first donation ($40). I tried to stipulate that it be used locally. My YWD HQ leader (who'd been in that position for, like, 20 years and had been married for, like, 10 of them - her husband was the HQ MD leader) told me that our HQ (Minneapolis) always spent far more money than it took in, so it was always being subsidized by the national office already. So that's why they sent all the donations away to the national office, which then saw to the disbursements as necessary.
In every other place I've practiced (5 completely different locations - not even in the same states), I've heard the same thing - "Locally, we don't take in enough to cover our operating expenses, so the national office has to subsidize us." And, naturally, that's why all the donations go to the national offices.
Isn't that funny? I wonder if EVERYONE is told this to stop them from asking for an accounting of the donations and expenses.
I was told the exact same thing, i think they must be told to say this! Source
...she took a second job as a waitress and donated the income from it to the campaign. Cult-watchers and ex-members argue that NSA [SGI-USA's previous name] exploits Jean and others like her. What makes matters worse, they say, is that members think NSA’s expansion depends on their sacrifices, when it is actually subsidized by Soka Gakkai in Japan. Source
What we DO know is that ALL the overseas properties are purchased by the Soka Gakkai in Japan - the title to the properties are held by the Soka Gakkai, not by any local SGI organization. Any members who ask about how their donations are being used are told that their location is operating in the red - they're not collecting enough in donations to cover their local operating expenses. So all the local donations are sent to the national HQ, which then cuts the checks required to keep the lights on. Every single location, operating at a loss. That's a helluva business model, isn't it? How do they manage to exist under such circumstances?? WHERE is the money coming from?? Source
My first year, when I made my first donation ($40), I asked that it be used locally. I was told (by the HQ YWD leader) that our location did not take in enough in donations to pay for its own operating expenses, so they forwarded ALL the contributions to the national HQ, and the national HQ cut the checks needed to keep the lights on.
I have since discovered that every member who has asked about how the donations are used has been told the very same thing. So EVERY location - operating in the red. What kind of business model is that?? All the properties are owned by Japan; all the titles and deeds are held by Japan. This serves two purposes:
1) Keep those real estate investments in Japanese hands, and
2) Keep the members from getting too uppity, figuring that, since THEY're paying for the facility, THEY get to decide how it will be run and what sorts of activities will be hosted there.
The idea that all the locations are operating at a loss and only remaining open through the largess of the national HQ (and, by extension, JAPAN - i.e. the Soka Gakkai, i.e. IKEDA, hence all the "Thank You Sensei" banners when "Sensei" has never even visited there and never will) serves to incapacitate the membership, who might otherwise feel a responsibility to make sure that the local center was meeting the local membership's needs AND serving the community to whatever degree the members felt important. And you KNOW the local members will never get to see the receipts, the books, that verify that the local organization is not taking in enough in donations to cover their operating expenses.
For example, one "May Contribution Campaign", I donated $1,200 (the most I ever donated BY FAR, and it didn't hurt me any - it was an advance on a computer contracting job I was doing privately for fun) AND AT THE SAME TIME, my WD District leader had somehow managed to get a donation for $1000 out of some rich guy she forbade any of us to ever contact - she assigned that to my group. So that's $2200 for just a single month - and we didn't even have a center locally then! We'd meet for the big meetings in school auditoriums/gymnasiums with folding chairs! So that amount might have paid for a full YEAR of big meetings (absent ongoing center utility fees).
I hadn't thought about it until now, but I think that relatively massive donation of mine, given that the other SGI members were poor as churchmice, might have been one of the major factors that propelled me up the leadership ladder ahead of more faith-qualified candidates...
So anyhow, back to my main point. I've run across charges that, when members made a cash donation, SGI leaders would take that cash and turn it into their own donation. What if the top local leaders were empowered to take ALL the local donations for themselves? SGI certainly didn't need those! And how much would that ensure the loyalty and obedience of those local leaders, plus challenge those local leaders to figure out fresh, creative new ideas for how to persuade the members to "give 'til it hurts"?
Giving, after all, has a way of cementing a member's loyalty; they're all IN once they start donating - they are more likely to feel this is THEIR organization and identify themselves in terms of the organization. I know I did. Source
I found some articles from the LA Times referring to the cult and several issues they were having in the 90's that no one mentions on the Wikipedia pages: apparently there was a controversy involving the sale of Renoir paintings. They also had to pay something like $4.5 Million due to tax evasion.
Using the front of being a religious Buddhist organisation and therefore being eligible for charitible status is perfect for a dodgy international property company. You can move money worldwide - without scrutiny - with the excuse of buying property for the 'members to use'. The members never see any of the profit from sales of the property, even though they may have provided their services free-of-charge to staff (and in some cases maintain) the buildings. In most countries charitable status brings very favourable tax breaks etc. Even if Ikeda was not a malignant narcissist, it would make sense to operate SGI as they do for purely financial reasons.
I hope that, if enough people question WHERE all that money could possibly have come from, given that all the studies have confirmed that the Soka Gakkai/SGI membership tends to be POOR, governments will take courageous action to AUDIT Ikeda's cult.
I say "courageous" because the SGI stands ready with fat bribes to any politician who's willing to use his/her influence to call off the dogs.
With that value of assets then at the least they are money laundering and naturally, as winter is followed by spring, there will be tax fraud. Source
Soka Gakkai's massive insurance fraud (>$10 million): Evades Taxes In Insurance Scam of more than U.S. $10 Million
Multimillion Dollar Luxury Mansion Secretly Owned By SGI Hits The Market
The church, which is appealing the judgment, sold its 218-acre Calabasas compound 2 1/2 weeks ago to Soka University of Tokyo for $15.5 million in cash. Source
Notice that those ^ were reported in the news media, NOT through SGI. SGI never said a word about the massive amounts of money, often CASH, that were changing hands.
What we have concluded is that SGI has way more money than can be accounted for by looking at the membership, which has traditionally been poorer and less educated than average. A study in the US about 5 years ago echoed the findings in Japan. In every location where someone has asked (US and elsewhere), they were told that the local membership did not contribute enough to fund their centers, so all the donations were sent to the national headquarters, and the national leaders would send the payments to keep the centers running. That's a hell of a business model, isn't it - run every franchise location in the red?? All the properties outside of Japan are owned by the Soka Gakkai in Japan - Japan makes the decisions on what to buy (like this $19 million mansion in CA) and when to sell, and keeps all the money from the sales of those properties. The SGI members have no say in anything, money or otherwise.
When District 15 of the Machinists Union decided to put its headquarters in New York City's Union Square on the market last year, it had trouble finding a buyer. The highest bid was $2.5 million -- half what the union believed the building was worth. Then, one day, NSA (former name of SGI-USA) officials visited district president Hans Wedekin. Not only did they agree immediately to his $5 million price, but they paid for the entire amount by check. Now the attractive five-story brownstone is an NSA community center.
"It was the fastest deal I ever made," Wedekin says.
In the past two years, NSA has pumped tens of millions of dollars into buying properties in more than a dozen American cities ranging in size from New York and Baltimore to Eugene, Oregon, and Colorado Springs, Colorado. By its own count, NSA now has 55 community centers, five cultural centers, six temples, and three training centers. The most expensive purchase this year may have been a $3.2 million property in San Francisco. The school in Allston- Brighton that NSA recently looked into is assessed at more than $2.2 million. Few of NSA's properties are mortgaged: It usually pays the whole sum up front. Source
Sensei's World: Daisaku Ikeda's unaccountable empire can thank lax treatment of the nonprofit world.
The SGI's overseas locations are not measures of popularity, but, rather, a list of foreign real estate investments:
The Soka Gakkai in Japan pays for all the foreign properties and thus retains all control over them - ownership plus the authority to dictate what happens at those locations.
A major financial gift from Tokyo facilitated the construction of the Sydney Community Center a few years ago... Daniel Metraux
That author ^ is one of the SGI's loyal little lapdogs, so anything coming from him has to be SGI approved.
The Florida Nature and Culture Center, as the Broward compound is called, was a gift from Japanese Soka Gakkai members to their American counterparts, the organizational name of which is Soka Gakkai International-USA(SGI-USA). Miami newspaper article
Welcome to the Los Angeles Friendship Center Website The center was a gift from the Soka Gakkai International membership, with the support of SGI President Daisaku Ikeda. SGI Source
At the moment BSG is not making enough through contributions. Money is sent from Japan. This money is used for upkeep of facilities, salaries of full time staff and big meetings like May 3. Also, SGI doesn't need your money. Sensei has provided us with enough. ... It is Sensei's money. It is coming from Sensei's personal pocket. He gets royalties from all the books that he's written. You need not worry about this. This is money sensei has earnt Source
Nobody buys those vanity books. Nobody.
This is actually a two-fold strategy:
1) Launder organized-crime dirty money into clean real estate investments (papered over with the camouflage that they are "gifts" from Japan/from the Japanese members/from Sensei himself)
2) Form a basis for connecting with the local branch of the underground criminal economy (estimated at 50% of the world economy)
It is typically assumed that there are enough members in each location to donate enough money to pay for their centers. Nothing could be farther from the truth. The reality is that the Soka Gakkai in Japan pays for everything - and uses the fact of these investments, marketed as "SGI Religious Centers", to "prove" what a big cheese whiz-bang serious religion SGI is.
It's nothing but a front for organized crime.
If you view the facts against a model that the overseas SGI colonies are simply money-laundering property investments which can be staffed by Japanese Soka Gakkai faithful and nothing beyond that is necessary, as all the money's already being generated by the criminal yakuza enterprises Ikeda controls in Japan, it makes a lot more sense. You get that "honmak-kukyo to", the consistency from beginning to end.
With this model, it makes sense why SGI won't publish a list of the claimed "192 countries/territories" where it has a presence - someone might start looking into those property acquisitions. One in Canada a few years back was quite a problem - SGI was offering TWICE the asking price in order to get the property (which is actually a commonplace SGI tactic, I've found) even though the neighbors did NOT want a cult presence in their community.
One author said that the only way SGI grows is by the Soka Gakkai buying up properties overseas and then shipping out Japanese Soka Gakkai members to staff them. THAT's probably why they won't ever publish a list of where they own properties across the world - that would make it too easy for people to track down what the property is and expose it as a front. It's too easy to set up shell corporations within each country to make it look like a local acquisition when, in fact, everything's funneling to/from Japan:
It seems that the existence of Soka Gakkai members overseas came about not by the conversion of non-Japanese overseas, nor even by the return home of foreigners converted in Japan, but by Japanese Soka Gakkai members moving abroad. Source
And since the Soka Gakkai in Japan is buying ALL the properties, it's easy peasy to dispatch a cadre of faithful Soka Gakkai members to run each of them. Voilà, they've now got a new pied-à-terre in another foreign country that Soka Gakkai and Ikeda can brag about, and they didn't have to do anything to convince anyone of anything!! If some of the locals drop in to have a look around, all the better, but certainly not necessary. They're already staffed with Japanese faithful, and that's all they need.
Isn't that peculiar? The properties thing stinks of money laundering. Source
WT 02/07/2010
May Contribution Is Just Around the Corner
Many members have been asking if it is too early to contribute? Danny Nagashima, SGI-USA General Director, responded to this very question with a question of his own at the January 18th Headquarters leaders meeting, right after the Daisaku Ikeda video presentation: “Is it too early to gain benefit?”. He went on, ” It is never too early to contribute to the May Campaign and it is never to early to gain more benefits.” He related the story of Orlando Cepeda who, through a myriad of bad investments, was nearly broke until he met Sensei. Sensei told him how, he too was nearly broke until he bought the four Renoir paintings from the Louvre Museum in Paris to donate to the members. He ponied up his last four million dollars and he is now a billionaire.
Not on the basis of his salary, he's not! It's only by claiming ALL the Soka Gakkai's/SGI's assets as his own personal piggy bank that Ikeda could be considered a "billionaire"!
And WHO who has a "last $4 million" to spend can be considered "nearly broke"??? That's despicable.
So much for "it's ALL for the members". Asshole. Source
So is it that the poor people gravitate toward the religions whose teachings set out to make them poorer, such as the Pentecostals and the SGI? Or is it that these religions actively impoverish those foolish/damaged enough to sign on? These religions teach that worldly gain is a temporary thing and unnecessary for happiness (though they both promise that their magic thoughts/spells will create worldly gain, paradoxically), and they tell their devotees that the more they give to the organization, the more they'll get in return - by magic! Yet their members are poorer than their peers in society - there's your "actual proof." This practice does NOT work.
Look at yourself - are you SGI members doing objectively, measurably better than your peers, who are about the same age, have the same level of education, same amount of work experience, etc.? Or are you doing worse? This study says yes O_O
Look at it this way: If you start donating $100/week to your religion of choice at age 26, by the time you hit age 65, you'll have nothing from it. On the other hand, if you invest that same $100/week in an IRA for the same time period, by the time you reach age 65, you'll have over $200,000! That goes a LONG way toward explaining why the most devout also tend to be the least wealthy.
And every religion makes demands on its members' time. Instead of doing gongyo and chanting morning and evening, what if you were to work on an extra project for work or use that time to take some classes, both of which will upgrade your resume and qualify you for higher pay? What if you were spending that time with family and friends, instead? How much would THAT improve your life? Studies show that those who spend the most time with family and friends are happier and healthier than those who are more isolated, and the SGI practice DEFINITELY isolates people. This study found that Soka Gakkai members in Japan were more likely to report having "no friends". What if you were to spend that time exercising, even just going for a walk? You'd lose excess weight, relieve stress, and improve your overall health. So, yeah, there's DEFINITELY a cost.
This study has not been done for SGI members, as there are too few for anyone to care, but regularly attending church has been shown to be a significant indicator of later obesity... Source
We don't know about where are contributions are going. There should be more transparency. ... My concern is- the money that is coming from Japan, where is that coming from? Source

Money is sent from Japan. SGI doesn't need your money. Sensei has provided us with enough. It is Sensei's money. It is coming from Sensei's personal pocket. This is money sensei has earnt. - SGI member

submitted by BlancheFromage to sgiwhistleblowers [link] [comments]

Just discovered the series with 0. Need help with real estate

Loving it! I just am playing thru 0 and instantly ordered the yakuza remake so i can go straight into that. But i need help with real estate and cabaret. How do i find out which buildings i can buy? They dont show up on maps at all. And with this and the cabaret how do i find new girls and staff?
submitted by DyslexicSantaist to yakuzagames [link] [comments]

Thoughts / Review on: "Yakuza 0" ( PS4 )

Review / Thoughts --- YAKUZA 0 ( PS4 )
*This review was made by combination of my own thoughts on it with some other review websites*
Beaten in**: 50 Hours**
Difficulty**: Hard**
Yakuza 0 is an action-adventure video game developed and published by Sega. It is a prequel to the Yakuza series. The game takes place in December 1988 in Kamurocho, a fictionalized recreation of Tokyo's Kabukicho, and Sotenbori, a fictionalized recreation of Osaka's Dotonbori. It was released for PlayStation 3 and PlayStation 4 in Japan in March 2015, and in North America and Europe for PlayStation 4 in January 2017. It was released on Microsoft Windows on August 1, 2018.
What an absolute Unique and Great game “Yakuza 0” is.. It has great characters to great story and plenty other good stuff… It's an full form Japanese game ( if you know what i mean ) and The plot of Yakuza 0 is served up like a fresh bowl of udon noodles; simmering, full of twists and turns, and satisfying to the end. Here is my Full review of “#Yakuza 0”
Pros:
Cons:
Final Verdict: 8/10 ( Excellent )
Were it not for the wealth of activities and side stories available around every corner, Yakuza Zero would still be a riveting game for its story alone. It does a fantastic job of pulling you into the plight of its main characters and holds your attention through every step of their winding journeys. But, when you take in everything the game has to offer, Zero becomes something special. Yes, its presentation leaves a lot to be desired at times and the fights aren't always as engaging as they could be, but the rest of the game is incredibly diverse and engaging. The sheer amount of activities at your fingertips would feel overwhelming if they weren't so inviting--you're never pressured to do one thing or another. It is worth getting if you are ready to read and wanna have a thrilling adventure of emotions
Follow @videogames._.exe on Instagram for more reviews :)
submitted by CaptainRazel to gaming [link] [comments]

As late as the mid-1960s, the Soka Gakkai was not making major investments in foreign real estate

Notice these two consistent sources:
March 19, 1966, my twenty-first birthday, a rite of passage, the day I had waited for so I could drink legally. The year before, on my twentieth birthday I had made elaborate plans for this day: which bars I would go to, which of my friends would go on a pub crawl with me through Beverly Hills, where we had gone to high school.
So the long anticipated day had arrived, but I wasn’t in Beverly Hills, and I hadn’t had even a single drink. Instead, I was standing in front of the first American headquarters of the Sokagakkai, the old Boyle Heights post office building in a rundown section of East Los Angeles. I had received my Gohonzon just five months earlier, and now my leader had asked me to be a “yusohan,” whatever that was, for a one-day visit of President Ikeda to the United States. There was going to be a leaders’ meeting of the entire West Coast, plus a few leaders from other parts of the United States, which turned out to be a group of maybe 85 people who fit into the old mail-sorting room. Source
From Mark Gaber's second book, "Rijicho":
"It was a pretty funky organization back then. No fancy three-story Joint Headquarters on the beach; all we had was that old broken-down Post Office building in downtown Los Angeles."
"I remember being toban there, sleeping with the cockroaches...at night, the whole floor would move." (p. 266)
The First Headquarters on Lincoln became a Jiffy Lube. (p. 318)
The event where everything changed was the Sho-Hondo Building Contribution Campaign in late 1965:
The period for collection of the donations was four days, from October 9 to the 12, 1965. According to Soka Gakkai's official statement, they reported that the unprecedented amount of 35.5 billion yen had been donated within Japan, alone. (Seikyo Shimbun, Oct.18, 1965) Source
They refused to accept the money collected by the US members, and Mr. Saito, Brazil's General Director, embezzled most of what had been collected in Brazil:
It was during these years that great contribution drives were taking place throughout the world to build the Grand Main Temple (Shohondo) at Taisekiji in Japan. Members were encouraged to give, give, and give, as this was an event that took place only one time in the entire history of Buddhism.
The Soka Gakkai now wants not only the hearts, minds, and souls of its members, but also their money. In America, members gave, gave, and gave. However during one planning board meeting, we were told that president Ikeda had decided that the American contribution for Shohondo should stay in America to promote Kosen-Rufu in America, that the Japanese members could afford the cost of building the Shohondo. Source
Of course the dictator Ikeda made the decision, all on his own, without consultation with anyone else.

So the trust and intent with which the members gave their all for the building of the Grand Main Temple was defrauded and diverted for additional real property acquisitions, everywhere.

After the completion of the Grand Main Temple, the Shohondo, in 1972, a trip to Central and South America was planned. It was learned that in Brazil, many members had complaints about their leaders and the loss of money that had been collected for Shohondo. Myself and three other people would accompany a guidance team for the members faith, while attempting to find and retrieve the lost funds.
After Panama, we went to Brazil for a general meeting in San Paulo. Following the general meeting, Ikeda returned to Japan leaving us and the guidance team in Brazil to encourage and talk to the troubled members. We learned that the members were tired and discouraged and that the leaders had hidden and stolen money raised by the members for the intent to build the temple.
The Brazilian leader responsible was strong-armed into returning the money, which was to be taken to the United States.
In 1974, it was discovered that Brazil Soka Gakkai General Director Roberto Saito (currently Honorary General Director) was embezzling the organization's money. Vice President Satoru Izumi (currently Chief of the Supreme Guidance Council) came from Japan to handle the incident, and the three of us, he, NSA General Director George Williams (currently General Director Emeritus) and I, set off for Brazil. In the end, he was told that if he returned the money, no questions would be asked, and we collected $1 million. We put it into 2 suitcases and conveyed it to Los Angeles. Source
Where it promptly disappeared, no doubt! Wasn't this the Brazil members' money?? Shouldn't it have remained in Brazil to be "used for kosen-rufu" there as the USian donations remained in the US??
Anyhow, in the early 1970s, property acquisitions in the US began in earnest:
The Santa Monica World Culture center was purchased in 1975 - you can read the official records here, showing it was purchased for between $2 million and $3 million. As of 2003, it was valued at over $7.9 million:
According to LA County tax records, SGI Plaza [assessormap.lacountyassessor.com] and adjacent properties [assessormap.lacountyassessor.com] around Sixth and Wilshire in Santa Monica are valued at over $20 million. (These are just tax valuations, not the market value.)
Just across the street, the World Culture Center [https://web.archive.org/web/20040215232147/http://assessormap.lacountyassessor.com/mapping/rolldata.asp?ain=4292012026] and Ikeda Auditorium and the house behind the WCC [https://web.archive.org/web/20040618040451/http://assessormap.lacountyassessor.com/mapping/rolldata.asp?ain=4292012010] are valued at more than $7 million. Source
To give you some perspective, an 1,190 sq ft 2 bdrm 2 bath apartment listed at that same address is valued at $2,859,681. (Is this the Ikeda apartment??)
The Malibu property was purchased in 1972 for just $109K - it was finally sold in 2003 for $14.5 million:
SGI-USA’s Malibu Training Center, [https://web.archive.org/web/20040618044354/http://assessormap.lacountyassessor.com/mapping/rolldata.asp?ain=4460031014] with a tax valuation of $1.4 million, was on the market in June 2003 for $21 million. It sold for $14.5 million in June 2003. SGI originally purchased the property in 1972 for a reported $109,000. [https://web.archive.org/web/20170301063210/http://www.caic.org.au/eastern/soka/indictment.htm]
So this gives us a time frame for the Soka Gakkai's sudden and inexplicable flushness with money - 1965. They needed a way to launder it, so they claimed it was all "member donations" for building the Sho-Hondo, a concept deliberately connected to this point in time for purposes of explaining away where all that money came from. The Soka Gakkai leaders already knew there would be no audits.
I'm thinking that the Sho-Hondo contribution campaign was a precedent-setter - they pushed those poor losers to contribute all their pennies, empty their piggybanks, and in the meantime, they were amassing a big yakuza-generated pile of cash to fold into the proceeds. Since there would be no audits, no government regulation or oversight (since it was "religion"), the amount they collected could be attributed entirely to the membership, despite all their acknowledgment that the members were from the lowest, poorest, sickest strata of society. The Sho-Hondo campaign served its purpose - to demonstrate just how much financial muscle the Soka Gakkai membership could muster, despite how destitute it appeared on the surface. Who knew bake sales and raffles could produce so much profit??
It wasn't real; even as the poor brainwashed suckers were searching their couch cushions and pockets for pennies, the total was being obscenely inflated via organized crime money, dirty money needing to be laundered. And since no one would ever figure it out, this would be the precedent behind every other large-scale real estate purchase anywhere in the world - if the members were sufficiently motivated, they could produce basically any amount of money the Soka Gakkai wanted, according to the Soka Gakkai. The Soka Gakkai could purchase anything it wanted, and at twice the market price (as we saw in Canada and in Calabasas, CA). And if anyone questioned, all they needed to do was to point to that historic Sho-Hondo contribution campaign, when in a matter of days, these poorest of the poor were somehow able to contribute MILLIONS of dollars for this purpose. Source
This was an audacious scheme; if they got away with it, then Ikeda would definitely become King of Japan. Ikeda's plan to take over Japan would be a cakewalk compared to THIS!
submitted by BlancheFromage to sgiwhistleblowers [link] [comments]

Korean yakuza Daisaku Ikeda's SGI/Komeito amassed wealth & power via organized crime, political corruption, illegal drugs, money-laundering, N. Korea, & Bush's CIA. (part 3)

(Part 3 of 3 - see links at bottom)
IKEDA: KOREAN YAKUZA EXTRAORDINAIRE
Link to picture of a young, gangster-styled (& expensively clothed) yakuza affiliated “claims collector”, Daisaku Ikeda (leading his gang-dressed, menacing-faced group of “associates”)
Ikeda reportedly has 1 trillion (1,000,000,000,000) yen on personal deposit in a Swiss bank account, along with 6,100,000,000 yen in New York and 4,100,000,000 in Brazil. There's a high probability that such fantastically huge amounts of money (over 2 trillion) were deposited from profits that have been generated through Ikeda's numerous organized criminal activities.
Is There An Ikeda/Korean/Yakuza Drug Connection?](https://redd.it/2kmxz4)
Daisaku Ikeda should be powerful -- he has karma on his side. Enough karma to lure over 12 million followers to his radical Buddhist sect. Enough to pour trillions of yen into schools and plush "cultural centers" worldwide. Enough to ensure audiences with royals, business leaders and former prime ministers.
A small, plump man with a permanently smug look, Ikeda joined the religious group Soka Gakkai in 1947 and quickly earned a reputation as a phenomenally effective fund-raiser. This is said to have assured his rise through the ranks and proved a strong weapon in the battle for succession between Ikeda and a rival in 1960, when Chairman Josei Toda died.
According to Ikeda's former right-hand man Yukimasa Fujiwara -- one of many who have left the group to protest their leaders dictatorial style -- Ikeda won the chairmanship [presidency] by quietly paying off [sokagakkai] executives.
His political aspirations took further shape in1964, when he launched the Komeito party which, with huge funds and millions of votes, grew into the Diet's second-largest opposition party. The Komeito has cast the deciding vote in debates... giving Ikeda, an unelected party leader, awesome sway over crucial domestic issues. "The Komeito can't make any decisions without his consent," claims Tokyo Insideline's Takao Toshikawa.
He is also known as an arrogant and mean-spirited man who taunts Gakkai executives at meetings. When writer Hirotatsu Fujiwara tried to publish a critical book in 1969, Ikeda employed then-LDP Secretary General Kakuei Tanaka to persuade Fujiwara to halt publication (He had him arrested on bogus charges); the author also claimed that a KGB-Iike campaign against him included death-threats and surveillance.
Komeito Diet member Toshio Ohashi... complained about Ikeda's megalomania in 1988. On Ikeda's nod, Soka Gakkai withdrew its support on the grounds that Ohashi had been receiving illegal campaign contributions. Without Gakkai's funds and votes, Ohashi had no choice but to resign from the Diet. The message was clear: nobody argues with The President [Ikeda].
It is also no secret that Ikeda desperately wants a Nobel Peace Prize; he has met with many Nobel laureates and donates huge sums to charitable causes such as Cambodian refugees, Ethiopian projects and Palestinian education.
Soka Gakkai now has eight universities, schools, kindergartens and other centers around the world. It recently completed an extravagant international HQ on 580 acres of prime Santa Monica estate.
Daisaku Ikeda -- statesman, billionaire, god
We arrived at Tokyo airport... we were driven away in a vast black limousine with electric darkened windows and Mr. Ikeda's emblem emblazoned on the carpet in gold thread. Walkie-talkies between the vehicles of the motorcade to the hotel relayed further messages from our mysterious host.
...we learned more about Mr. Ikeda and his Soka Gakkai movement. One thing above all others was made clear: this was an organisation of immense wealth, power and political influence. Its influence strikes deep into every aspect of Japanese life. Among its many publications is a newspaper with a circulation of over 4 million. It has the third largest political party in the country. It has membership of 10 million...
He [Ikeda] is the relatively uneducated son of a laver seller from Omori, who succeeded to the leadership at the age of 36... Night and day, surrounded by his aides, we heard his name mentioned in tones of reverential awe.
The evening came when we were at last to meet him. The great black limousine pulled into the palatial headquarters. The doorway was flood-lit with camera lights, and there stood Mr and Mrs. Ikeda, surrounded by bowing aides and followers. Dazed and dazzled by this unexpected reception committee, we were lead up to him to shake the small, plump hand. There he stood a short, round man with slicked down hair, wearing a sharp Western suit. Camera bulbs flashed, movie cameras closed in, and we were carried away with the throng, past corridors of bowing girls dressed in white to an enormous room.
Vast white armchairs were arrayed in a huge square and we were ushered to a throne-like set of three chairs. We sat there awed, appalled, intimidated, while royal courtesies flowed. Our host's style of conversation was imperious and alarming -- he led and others followed. Any unexpected or unconventional remark was greeted with a stern fixed look in the eye, incomprehension, and a warning frostiness.
Worldly he seemed, down to the tip of his hand-made shoes, earthy almost, without a whiff of even artificial spirituality. Asked to hazard a guess at his occupation, few would have selected him as a religious figure. I have met many powerful men -- prime ministers, leaders of all kinds -- but I have never in my life met anyone who exuded such an aura of absolute power as Mr. Ikeda. He seems like a man who for many years has had his every whim gratified, his every order obeyed, a man protected from contradiction or conflict. I am not easily frightened, but something in him struck a chill down the spine.
He asked us what we thought my grandfather's last word of warning to him... my husband ill-advisedly answered, "Greed." An icy look passed across Mr Ikeda's ample features. He looked as if he might summon a squad of husky samurai to haul us away. I hastened to explain that Peter meant the greed of mankind... He looked not entirely mollified and the moment passed.
One night we were shown a film of Ikeda's triumphal tour round America, at massed rallies in stadiums from Dallas to San Diego. Formation teams of majorettes and baton twirlers spelled the words SOKA and PEACE in great waves of thousands of human bodies and Ikeda, spot-lit and mobbed by screaming fans, delivered his usual speeches on peace -- always peace. It is one of the Soka Gakkai's themes... After the finale Ikeda took a lap of honour round the stadium, while carefully rehearsed groups of girls shrieking with adulation, pealed away towards him.
Soka Gakkai means Value-Creating Society... It is rigidly hierarchical, with no democratic elements, and absolute power in Ikeda's hands. It imposes few religious or moral duties, beyond chanting twice a day, but it expects a high degree of obedient social participation in its organisation.
When Ikeda founded the movement's political party, Komeito, there began to be some alarm as to how he would use this power. This alarm has lead the party to officially separate itself from Soka Gakkai, though all its leaders remain Gakkai members. The Komeito (Clean Government) Party is the third largest party in the mysterious and labyrinthine shifting factions of Japanese politics.
Politically, like most of the other parties, it is mostly in favor of being in power. Soka Gakkai has non-governmental organisation status at the United Nations, a fact used much by Ikeda, as it establishes them as a world-wide "peace movement" and **helps to give Ikeda access to heads of states around the globe. At Soka Gakkai's founders' day, we found representatives of many foreign embassies, and the French Ambassador was the guest of honour. People who seek influence in Japan cannot afford to ignore Ikeda...
The Value of a Grandfather Figure
In 1971, Soka Gakkai constructed the Ounuma Training Center... the main building of the training center was constructed for Ikeda to summer there. I had just been appointed the Hakodate Women’s Division Zone Chief, and I spent two months running around preparing for Ikeda’s visit, following the instructions I had received from the Gakkai Head quarters. The materials designated by the Headquarters for Ikeda’s use were truly detailed. The pillow was to be filled with buckwheat chaff (this changed to red beans while Ikeda was en route), and it was to be so many centimeters wide and so many centimeters long. The futon was to be made of silk and was also to be a certain size. I naturally had to order everything special. Furthermore, there were many other details, including instructions concerning Ikeda’s pajamas, sweatshirts and paulownia clogs. There were to be so many large and small crystal glasses, different spoons to be used for melons, water melons and ice cream, cloisonné? chopstick holders, cork coasters, a white china milk pitcher, a glass sugar bowl, etc. His food, meat, fish and vegetables, were designated as well, and there was to be mineral water for drinking. Each time Ikeda came to summer, I spent out of my own purse anywhere from 700,000 to one million yen.
It happened on the third day after Ikeda’s arrival in Ounuma, in other words, the evening of June 27. As part of my duties, I ascended to the third floor at 9:00 p.m. to lay out Ikeda’s futon, just as I had done on the two previous evenings, never suspecting that I was about to undergo a terrifying and humiliating experience.
I entered, saying, " Please pardon my intrusion.", and thinking that I must not disturb him, I began to close the sliding doors between the bedroom and the office. However, Ikeda said, " Leave them open. " I was slouched over, spreading out the sheets with my back to Ikeda when he suddenly leaned against me from behind. This happened in the blink of an eye. While pushing down on me, Ikeda's hands reached for my shoulders and he pulled at both the collar of my blouse, so it offered not the slightest resistance. The buttons popped off and scattered about. I tried desperately to flee, but with Ikeda's enormous body crushing me, I was unable to even move. He violently tore open my skirt. As he panted with harsh breath, Ikeda spit out, " Just one layer of underwear, I see. " and he shoved his hand into my underwear. Aside from being pushed down upon with tremendous force, I was so afraid I was unable to speak. Then Ikeda firmly speared me from behind. I continued to attempt to resist, struggling and writhing, when everything went pitch black. I lost consciousness lying prostrate.
Around 7:00 the following morning, Ikeda entered the kitchen where I was preparing breakfast. I was aghast at the words he uttered to me at that time. Catching sight of me, Ikeda calmly ventured to say, “Did you sleep OK last night? Your eyes are a little red.” I thought, What nerve this person has to say something like that after what he did last night. He is not human. The shock and suffering I had experienced the previous evening are beyond description...
In 1974 Ikeda summoned me up to the second floor. When I got there, I found the two of us in the room alone. He suddenly wrapped his arms around me, pulled my face toward his and pressed his mouth against mine. He said, “Let’s go for a walk,” and thinking that I would be safe if I could get outdoors, I went with him to the rear of the main building. He did the same thing again there. I resisted, and fortunately, nothing else happened. However, he repeated the same behavior three more times after that.
By the way, Ikeda’s intense body odor is ghastly... something akin to the stench of rotten garlic emanated from his entire body. When Ikeda pulled me close to his filthy face, I detected an intolerable odor, and felt unbearably nauseous. Later I tenaciously scrubbed myself wherever Ikeda had touched me.
Ikeda arrived in Hakodate on June 20, 1978. He told me to accompany him to the third floor, and plopped down on his side in the 9×12 altar room. I informed him that everyone was waiting, but Ikeda said, “That’s OK. Massage my legs for me.” Feeling I had no choice, I massaged his legs through his trousers, and while doing so, Ikeda told me, “This time I’ve brought you some help… It’s better to instill jealousy rather than be eaten up by it. Today you look like a princess, a queen.” Further still, while I massaged his legs, his wife Kaneko entered the room and she merely looked at me massaging him without uttering a word. During a dinner meeting on the 23rd of that month, Ikeda thoroughly praised me in front of everyone, after which he whispered to me, “You know, you're my Number Two.” (note: Number two, nigou, in Japanese carries the double meaning of mistress or concubine) Since then, Ikeda referred to me in front of everyone as his queen and his Number Two.
I was raped by Ikeda for the second time on August 19, 1983. I was wiping a table with my back to the door when suddenly, someone wrapped his arms around me from behind. When those hairy arms pinioned me, I at once imagined it to a molester, and thought I would be murdered, but then I immediately realized that it was Ikeda.
The next moment, Ikeda wrapped his leg around my right leg and pushed me down. When I fell, my left side struck the table quite hard. Once again, he tore my blouse to shreds and forcibly removed my skirt and stockings. I attempted to push Ikeda away as he bent over me, but my hips and legs were weighted down and I was unable to budge Ikeda at all. My terror of 1973 came back to life. Ikeda made a bee-line for his stalked prey, just like a beast. Ikeda, having reached and completed his goal, and perhaps sensing that someone was outside (in the end, no one was there), he slackened his efforts and at long last released me. Then, just for an instant, I saw for the first time the nude lower body of Ikeda. His lower body is extremely hairy, and it looks just like he’s wearing pants. As he fled, pulling up his sweats, Ikeda said, “I came to see the face of my Number Two,” with a vulgar smile breaking out on his face. His smile was ghastly, and truly not of this world. Later, I noticed that in the course of my desperate struggle my body had become completely covered with wounds. He had done it, not just once, but twice. When I later visited a hospital to see to my wounds, I had a hunch that perhaps one day I might one way or another file a lawsuit, so I kept and still have the medical diagnostic certificate from my visit.
Ikeda assaulted me at the Ounuma Training Center for the third time on August 16, 1991. Around 7:30 on the morning of the fifteenth, I walked through the grounds of the training center in order to replenish the food supplies. As I walked along a road on the grounds, someone suddenly sprang upon me from behind and to the left. A fat, hairy arm and that peculiar feel – I immediately realized it was Ikeda. “It’s Sensei again,” I thought, and at that same time I was dragged down and pinned from behind with tremendous force. I tried and tried to flee, but aside from him bending over me with his entire body weight, he also pinned me down and there was nothing on the ground to hold onto, so there was nothing I could do. I tried to call out, but all I could manage were grunts. Ikeda violently tore away my clothes and he raped me, panting harshly, just as before. My clothes were in tatters. At any rate, I thought only of fleeing, and instinctively clawed and bit at Ikeda’s arms. I was truly acting on pure instinct, so I don’t really remember just what I did, but Ikeda let up for just an instant, probably, I think, because I had bitten his arm, and it was then that I was finally able to pull away from him. Ikeda, again displaying that ghastly smile, ran off into the fog.
My body was covered with bruises and scratches. Later, my husband felt suspicious about that and asked me, “Why do you come home covered with injuries when you go to Ounuma?” I could not possibly tell him the truth, and felt terrible about deceiving him.
I knew that if I made a public announcement about what Daisaku Ikeda did to me, the Gakkai would indiscriminately spread stories about me from various angles. However, I am not the least bit afraid of such stories. I determined that I would publicly announce what is, for a woman, the greatest shame, in order to let people know the true portrait of Daisaku Ikeda.
“I WAS RAPED BY DAISAKU IKEDA!”
Quotes from SGI President Ikeda:
ON SOKA DOMINATION; "We must place the Soka Gakkai members in all the key positions of Japanese government and society." September 6th 1957, Seikyo Shimbun ( SG's daily organ newspaper )
ON TAKING OVER JAPAN " I feel the time to take over Japan has come close. A party that can't take the rein of the government need not exist. But don't worry. Here, I am behind the (Komeito) party. " November 16th 1976, Photo gathering with members of the SGI's Komei political party
ON BECOMING KING & DISCARDING SGI " What I learned (from the second president Toda) is how to behave as a monarch. I shall be a man of the greatest power." July 1970 issue of Japanese monthly magazine "Gendai" (English: the present age)
ON CONTROLLING THE ECONOMY " In the process of (our) Kosenrufu activity, the SG political party (Komei), the SG schools, the Bunka (SG's cultural organization), and the Minon (SG's entertainment business organization) have been founded. The last yet unaccomplished (revolution) is the economy. From now on, we members of the Shachokai (a group which consists of CEOs from Soka Gakkai [yakuza associated front companies]) shall create an economic revolution. " June 25th 1967, the 1st Shachokai meeting
ON POWER PLAY " Extend our power inconspicuously, set up networks in the industrial world." " Yasuhiro Nakasone (former Japanese Prime Minister) is not a significant matter. He is just a boy on our side. When he asked me to help make him Japanese Prime Minister, I said " Okay, Okay, I'll let you be a Prime Minister. " November 25th 1967, the 6th Shachokai meeting
ON POLICE CORRUPTION " My men manipulating (the) police are Takeiri and Inoue. " July 8th 1968, the 13th Shachokai meeting
ON BEING GOD/KING "To found the Soka Nation, the Soka Kingdom, on earth, in the universe, I shall protect Soka Gakkai members." The Second Head Quarter Meeting in Tokyo, June 10 1975
ON LOVE OF FASCISM (combined state & corporate power) *"To tell the truth, fascism is my real ideal." The 61st Executives Meeting, June 15 1972
Ikeda's Problematic Speech
In short, the Soka Gakkai's (under Ikeda's control since 1960) unscrupulous ambitions are an attempt to completely rule Japan (and possibly an effort to create a template for future use to eventually dominate other nations as well) in a multifaceted way. That is:
Spiritually: Make all the Japanese belong to Soka Gakkai.
Politically: Have the SG's Komei Party take the rein of the Japanese government.
Economically: Have business enterprises affiliated with Soka Gakkai controlled [yakuza affiliated] Japanese financial circles.
Have Soka Gakkai members slip into key positions of Japanese society, including administrative organs, the Ministry of Justice, the media, educational organizations, cultural organizations, etc., then take control of Japan.
Then finally, Daisaku Ikeda will become a man of absolute power to rule Japan.
Ikeda's ambitions are not merely big talk by a megalomaniac. Actually, the Soka Gakkia's own political force, the Komei-to Party (thanks in part to its merger with another party) has become the the most powerful party in the Japanese Diet's House of Representatives - its increased success is in direct proportion to the increase of millions of Soka Gakkai members.
Elite individuals, who are members of the Soka Gakkai such as lawyers, prosecutors, judges, accountants, policemen, diplomats, government officials, etc., have already penetrated into Japanese society. The number of those elites has continuously increased. Ikeda and the Soka Gakkai's plot to take over Japan has been advancing steadily so far.
The ugly truth is this: "The Soka Kingdom" comprises a terrible fascist nation. The ultimate cruelty is that Ikeda's followers, and even his organization are considered by him to be disposable in his quest to rule his kingdom. Building and maintaining power and control is what is most important to a despotic king.
Ikeda's "Soka Kingdom" aims at realizing a dictatorship nation based on fascism with Ikeda wearing the dictator's crown. There are many well-documented criminal acts committed by the Soka Gakkai, including the oppression of the freedom of publishing, the spurious substitution of votes, the wire tapping incident, the Recruit bribery case, The Jari Senpaku bribery case, and many more. If the Soka Gakkai's goals of taking over the government were to be fully realized, the use of violence, corruption, and injustice would be justified to protect the dictator Ikeda's privileges, honor, wealth, and his power.
This terrible plot, "Realizing the Soka Kingdom" can be said to be the ultimate goal that Ikeda and the Soka Gakkai, under a mask of religion, have been aiming at all along. Furthermore, the existence of the Soka Gakkai, for the fascist despot Ikeda is, after all, just a tool or base to take over the rein of the government.
Here is a man that is revered as the modern-day Buddha by his disciples. But based solely on his own words, it becomes crystal clear - IKEDA IS THE OVERLY AMBITIOUS TYRANT KING OF HIS EXPANDING 'SOKA KINGDOM', WHOSE TRUE OBJECTIVE IS TO BECOME A DESPOTIC RULER OVER A FASCIST JAPANESE GOVERNMENT.
SGI's President Ikeda's ultimate aim to "realize Soka Kingdom"
The combined leaders' salaries in the Soka Gakkai are in the tens if not hundreds of millions of dollars...
Salaries of Top SGI Inc. Officials as of Fri, 29 Aug 1997 - The following information is provided to you courtesy of the Yotsuya Tax Office, Tokyo, Japan.
The declared income of Daisaku Ikeda is listed as follows: (The dollar amounts are listed at the exchange rate of 100 Yen to U.S. $1.00)
1971 - 62,050,000 Yen ($620,500.00)
1972 - 84,340,000 Yen ($843,400.00)
1973 - 113,570,000 Yen ($1,135,700.00)
1974 - 135,330,000 Yen ($1,353,300.00)
1975 - 121,980,000 Yen ($1,219,800.00)
1976 - 78,700,000 Yen ($787,000.00)
1977 - 51,490,000 Yen ($514,900.00)
1978 - 83,350,000 Yen ($833,500.00)
1979 - 34,500,000 Yen ($345,000.00)
1980 - 39,010,000 Yen ($390,100.00)
1981 - 75,030,000 Yen ($750,300.00)
1982 - 57,420,000 Yen ($574,200.00)
From 1983 to 1987, and 1993, the amount of income as calculated from the amount of income tax paid:
1983 - 32,000,000 Yen ($320,000) based on 14,030,000 Yen paid as income tax
1984 - 72,000,000 Yen ($720,000) based on 39,700,000 Yen paid as income tax
1985 - 60,000,000 Yen ($600,000) based on 30,950,000 Yen paid as income tax
1986 - 85,000,000 Yen ($850,000) based on 49,810,000 Yen paid as income tax
1987 - 87,000,000 Yen ($870,000) based on 51,510,000 Yen paid as income tax
1993 - 170,000,000 Yen ($1,700,000) based on 87,150,000 Yen paid as income tax
Income of SGI President, Einosuke Akiya for 1993 as calculated from the amount of income tax paid: 55,260,000 Yen ($552,600), based on 18,420,000 Yen paid as income tax.
Income of SGI Vice President, Norimasa Yahiro for 1993 as calculated from the amount of income tax paid: 52,830,000 Yen ($528,300), based on 17,610,000 Yen paid as income tax.
Income of SGI General Director, Kazuya Morita for 1993 as calculated from the amount of income tax paid: 41,610,000 Yen ($416,100), based on 13,870,000 Yen paid as income tax.
Income of Vice President, Jun Aoki for 1993 as calculated from the amount of income tax paid: 30,720,000 Yen ($307,200), based on 10,240,000 Yen paid as income tax.
There are approximately 200 vice presidents. Even at a salary of U.S. $200,000 each per year, that amounts to $40,000,000.00 (Forty million dollars)... This does not take into account the numerous other staff salaries nor does it take into account 2009 wage increases.
The Soka Gakkai Salaried Senior Leaders are Leeches
BUSINESSES OWNED OR CONTROLLED BY IKEDA/SOKA GAKKAI:
The following companies and corporations were found to have direct links to Sōka Gakkai; essentially under their control:
Japan Railways (JR),
UniQlo,
Tsutaya,
Mitsubishi,
AVEX,
Kirin,
Doutour Coffee,
Book-Off,
NAMCO,
Don Quijote,
Asics,
Comme & #231; a du mode,
100 yen shop DAISO,
Nippon Ham,
Lotteria,
Security,
K-1,
Bikkuri Donki (hambag restaurant).
Soka Gakkai Affiliated Company List:
HUSER:Human User Company(80 percent of the employee seems to have been published in the advertisement of the Seikyou newspaper by the Soka society member.)
Sekisui house
ITO EN, LTD. (The diamond magazine also refers famously in Soka Gakkai-affiliated. Vending machines set up in facilities related to Soka Gakkai are all Ito-En. )
Yakult Honsha Co., Ltd.(Soka Gakkai seems to own, and there to be a lot of people related to Soka Gakkai also in the Yakult lady as for Jingu Stadium on the base ground of the baseball team. However, itself the player of the baseball team is irrelevant. A lot in optimism (former Kintetsu) and Nippon Ham if it is a baseball team. )
BOOK OFF (It is famous that the relation is deep. here Soka Gakkai is strong in the antique handling relation. )
TSUTAYA, CCC, Culture Convenience Club Co., Ltd. (Invest aggressively in an BOOK OFF. )
UNIQLO Co., Ltd. (Alias Fast Retailing. Here is also famous, and TSUTAYA and an BOOK OFF, etc. are variously coordinated each other. )
H.I.S. Co., Ltd. (Actually, become the supporting company of the performance of WAHAHA-Hompo of Soka Gakkai-affiliated) HIS is maxim for the complaint of HIS , saying that yakuza tone and "It is not had a mind to be going to change correspondence completely in the future".
Club tourism (Travel agency: The seventh place finding employment Soka University ahead of 2004 The mark of the company is near Soka Gakkai's, and is also doubtful. )
Kinki Nippon Tourist Co.,Ltd., Kintetsu International Express Inc. (the third place finding employment Soka University ahead of 2004)
Watami Ltd. that manages nursing, Ayacan'yume educational institution Ayacan junior high school, Ayacan high school, and Ayacan global high school etc. of house and T.G.I.Friday 's and house and Watamiecoroga Watamifarm Watami of Watami, harmony the people, sitting harmony people (Zawatami), seafood conduct oneself harmony people market, harmony seeing Tei, Gohan, and(the fifth place finding employment Soka University ahead of 2004)
Monte Rosa Ltd. where plain wood shop and Uotami, etc. are managed (The financial clique of reason plain wood Yoshikazu Shi of relative Komeito of the wife of the Ikeda masterpiece had managed it. )
"Yourou no Taki" of tavern (It is famous for a long time as Soka society member's habitue's drinking house. )
Tokyo Disneyland (Oriental Land) Soka Gakkai owns stock 10% of Disney. (former representative director Japan of Koji Hoshino Walt Disney company and others believer person of six Soka University alumnus terms)
Doutor Coffee (The Soka society member recognizes it officially. )
Kirin Brewery Co., Ltd. (The appearance artist of the campaign for giraffe's canned coffee fire is a Soka society member in the Mitsubishi group. It is declared that fool Kamei of the Liberal-Democratic Party doesn't drink the beer of Soka Gakkai either. )
Daiso The agent provocateur of' Soka Gakkai... of Unification Church (Unite both of the victory)
AOYAMA TRADING co., ltd. (The chairman of 100 yen PLAZA who united it with Aoyama Trading. Daiso is the same as the chairman of Aoyama Trading. )
Theatrical company named WAHAHA-Hompo (Masami Hisamoto in the Soka Gakkai public entertainments part and Rie's Shibata both men belong, and representative's writer Hajime is Soka Gakkai. )
Takarazuka Girls' Operetta Troupe (It is said that the stimulant that the Goto Yamaguchi-gumi-affiliated class imported from North Korea is treated, and Soka Gakkai undertakes the money laundering of the earnings. )
K1 (It backs up in the capital. It supports it like the purchase of the admission ticket etc. as the Soka society member brings it together. )
Hokke Club (Hotel of national chain. Soka Gakkai operating directly?)
Asics (All president's aunts of the part seem to be also so in the Soka society member. )
Pasona (President's southern part Yasuyuki is a Soka society member in Barbary. Representative former Maehara's of the Democratic Party wife also was working. )
Sofmap and personal computer atelier (antique relation) industries as Soka Gakkai-affiliated.
Big camera (Sofmap is supported. )
Yamada Denki (Not only the president but also all management is occupied by the Soka society member. When electing it, the poster of Komeito (Soka Gakkai party) is pasted, and a lot of Soka society members are had as for the employee. )
Esthetics de MYLORD (The variety show got into the news. )
Nitori (Home..fashion..daily necessaries..Soka University..find employment..person..a lot of.)
Bikkuri Donkey
TenkaIppin (ramen shop)
Toho Pharmaceutical and Tomo Tscmirai G loop (There are a lot of those at Soka University who find employment. It creates and related companies seem to like Soka Gakkai. )
Confectionery of grape of Tokyo and 'silver' (Grapstorn Ltd.)
SHINRYO CORPORATION
Wagon road (Family restaurant. Additionally, the restaurant of various genres is managed in the group. )
Japanese judas tree woods (Chinese restaurant. Especially, the Japanese judas tree woods in Shinanomachi in the town of Soka Gakkai is Mecca in which they gather. )
Eye hop (family restaurant)
Namis of health food SF
Healthy family's shop
Sushi "Warehouse (saddle)" chain that turns (It is abundant in Hachioji etc.)
HamaSushi
Koenji ring 7 along"Souka"
Transformer arts of animated cartoon production
Studio Alice (photograph shop)
Aoyama of coffee (It is taught to the Soka society member, "Here is a seat where Mr.Ms. Ikeda sat" etc. by word of mouth. )
Hakubundou bookstore
AVEX
Bank of Tokyo-Mitsubishi (The main financing bank of Soka Gakkai is Bank of Tokyo-Mitsubishi, and the character is Mickey. )
Mitsubishi Corp., Mitsubishi Electric Corporation, and Mitsubishi Heavy Industires (Gendai Weekly: aim of Soka Gakkai and Mitsubishi group "High level conference")
Sotec
Comusademord
Anabuki construction company
Complete Soka enterprise list as follows:
Japanese books transportation. (11.3 billion yen in annual turnover like transportation and move etc. of Seikyou newspaper etc.)
Nitiei (It is 1.1 billion yen in the annual turnover in the subsidiary company of the Japanese books transportation. )
Shinano facilities management (3.6 billion yen in annual turnover like management of Soka Gakkai hall etc.)
Nikkou guard security (It is 1.6 billion ..subject.. yen in the annual turnover as for the guard of the Soka Gakkai hall. )
Creation company (The Soka Gakkai relation of 3.6 billion yen in the annual turnover : by about 80%.)
Glory construction (2.9 billion yen in the annual turnover around building and the repair of Soka Gakkai facilities. )
Shinano project (5.9 billion yen in annual turnover such as video production and goods of Soka Gakkai event)
East and west philosophy study(The store develops centering on Shinanomachi, and 9.2 billion yen in the annual turnover.)
Shio publisher (4.5 billion yen in annual turnover like writing of monthly "Shio" and Ikeda etc.)
The third civilization company (One billion yen in annual turnover like publication related to Soka Gakkai etc.)
Otori study (Goods is delivered to the university library, and 3.8 billion yen in the annual turnover. )
TOKO (1.9 billion yen in annual turnover like employment ad in Seikyou newspaper etc.)
Fuji white lotus company (The majority of the customer are 1.9 billion yen in the annual turnover in the Soka society member. )
Soka Gakkai owned or affiliated companies
Some publishing companies owned by Sokagakkai:
Middleway Press: Trade publishing division of the SGI-USA
Dialogue Path Press — the Ikeda Center's publishing arm
[Seikyo Press]: The Seikyo Shimbun has a main office in Tokyo, eight regional offices and 50 local offices throughout Japan. Since 1988 the paper has been published using a computerized typesetting system. This allows the completed text to be transmitted nationwide over digital lines to the 32 locations where it is printed. The Seikyo Shimbun also has full-time correspondents in eight major cities around the world: Los Angeles, Boston, London, Madrid, Lima, Hong Kong, Quezon City and Bangkok.
Soka Gakkai International Publishers Group: Publishing company profile: Soka Gakkai International Publishers Group, Mörfelden-Walldorf, Germany
Mainichi Shimbun: newspaper
Publishing Houses: SGI-USA; World Tribune Press; Middleway Press; Nichiren Shoshu International Center.
Daisan Bunmei: Description: Official homepage of the publisher of Sôka Gakkai books. Information on monthly magazines "daisan bunmei" (the third generation), "tôdai" (lighthouse)and newspapers; latest books of Ikeda Daisaku.
Might as well summarize all the publishing companies SGI runs
(End of Part 3)
part 1 here
part 2 here
submitted by cultalert to sgiwhistleblowers [link] [comments]

Thoughts / Review on: " Yakuza 0" ( PS4 )

Review / Thoughts --- YAKUZA 0 ( PS4 )
*This review was made by combination of my own thoughts on it with some other review websites*
Beaten in: 50 Hours
Difficulty: Hard
Yakuza 0 is an action-adventure video game developed and published by Sega. It is a prequel to the Yakuza series. The game takes place in December 1988 in Kamurocho, a fictionalized recreation of Tokyo's Kabukicho, and Sotenbori, a fictionalized recreation of Osaka's Dotonbori. It was released for PlayStation 3 and PlayStation 4 in Japan in March 2015, and in North America and Europe for PlayStation 4 in January 2017. It was released on Microsoft Windows on August 1, 2018.
What an absolute Unique and Great game “Yakuza 0” is.. It has great characters to great story and plenty other good stuff… It's an full form Japanese game ( if you know what i mean ) and The plot of Yakuza 0 is served up like a fresh bowl of udon noodles; simmering, full of twists and turns, and satisfying to the end. Here is my Full review of “#Yakuza 0”
Pros:
Cons:
Final Verdict: 8/10 ( Excellent )
Were it not for the wealth of activities and side stories available around every corner, Yakuza Zero would still be a riveting game for its story alone. It does a fantastic job of pulling you into the plight of its main characters and holds your attention through every step of their winding journeys. But, when you take in everything the game has to offer, Zero becomes something special. Yes, its presentation leaves a lot to be desired at times and the fights aren't always as engaging as they could be, but the rest of the game is incredibly diverse and engaging. The sheer amount of activities at your fingertips would feel overwhelming if they weren't so inviting--you're never pressured to do one thing or another. It is worth getting if you are ready to read and wanna have a thrilling adventure of emotions

Follow @videogames._.exe on Instagram for more reviews :)
submitted by CaptainRazel to videogames [link] [comments]

Thoughts / Review on: "Yakuza 0" ( PS4 )

Review / Thoughts --- YAKUZA 0 ( PS4 )
*This review was made by combination of my own thoughts on it with some other review websites*
Beaten in**: 50 Hours**
Difficulty**: Hard**
Yakuza 0] is an action-adventure video game developed and published by Sega. It is a prequel to the Yakuza series. The game takes place in December 1988 in Kamurocho, a fictionalized recreation of Tokyo's Kabukicho, and Sotenbori, a fictionalized recreation of Osaka's Dotonbori. It was released for PlayStation 3 and PlayStation 4 in Japan in March 2015, and in North America and Europe for PlayStation 4 in January 2017. It was released on Microsoft Windows on August 1, 2018.
What an absolute Unique and Great game “Yakuza 0” is.. It has great characters to great story and plenty other good stuff… It's an full form Japanese game ( if you know what i mean ) and The plot of Yakuza 0 is served up like a fresh bowl of udon noodles; simmering, full of twists and turns, and satisfying to the end. Here is my Full review of “#Yakuza 0”
Pros:
Cons:

Final Verdict: 8/10 ( Excellent )
Were it not for the wealth of activities and side stories available around every corner, Yakuza Zero would still be a riveting game for its story alone. It does a fantastic job of pulling you into the plight of its main characters and holds your attention through every step of their winding journeys. But, when you take in everything the game has to offer, Zero becomes something special. Yes, its presentation leaves a lot to be desired at times and the fights aren't always as engaging as they could be, but the rest of the game is incredibly diverse and engaging. The sheer amount of activities at your fingertips would feel overwhelming if they weren't so inviting--you're never pressured to do one thing or another. It is worth getting if you are ready to read and wanna have a thrilling adventure of emotions

Follow @videogames._.exe on Instagram for more reviews :)
submitted by CaptainRazel to gamereviews [link] [comments]

yakuza 0 real estate staff video

Yakuza 0 but I just work in Real Estate - YouTube How To Find Out Info On Tachibana Real Estate - Yakuza 0 ... YAKUZA 0 Chapter 2: The Real Estate Broker in the Shadows ... Yakuza 0 - All Business Property Locations - YouTube Yakuza 0 - Chapter #2 - The Real Estate Broker in the ... Yakuza 0 - Chapter 2: The Real Estate Broker in the ... Real Estate Royal Tips  Yakuza 0 [Guide...I guess?] - YouTube Yakuza 0  Real Estate Royale: MEDIA KING - YouTube

I have finished the real estate story today but haven't updated my trophies. (i will now) Also i have finished 58/60 substories for Kiryu. I think the only ones i haven't done are the two from the finale. EDIT: Hopefully somebody has a solution. Played 70+ hours already and don't think i have it in me to start again. Here Kiryu gets the idea that he should get some more staff for his own business. Return to the Real Estate Building. Then, Marina says she is going to put up some job listings. Yakuza 0 is a Real Estate Royale Properties. Here follows a list of all the properties you can purchase, separated by district. I didn't include the price involved because really you should be prepared to spend a bundle regardless. This list is mainly for people wondering just where each property is, because it's not like the game is telling you. Leisure The Real Estate Royale is one of Yakuza 0’s most exciting and rewarding features. This Yakuza 0 Real Estate Royale Guide will cover everything you need to know about the real estate game including mechanics, staff, stores, payouts and more. The Real Estate Royale feature in Yakuza 0 plays a pivotal role in both story and side content throughout the game, although it is not available straight away. If you want to unlock the Real Estate Royale feature you need to progress through the story Yakuza 0 Real estate management. HELP. Close. Vote. Posted by just now. Yakuza 0 Real estate management. i can only choose the starting manager and she doesn't appear in the list. If i click on the staff list though, she appears there but i can't put her in the district from there. What should i do? 0 comments. share. save. hide. report. Your Staff Yakuza 0 Real Estate Royale Your Staff. You are not alone in your efforts to buy out the town. You'll have a staff on hand which you can utilize to improve your chances of making massive amounts of cash. Managers are available in order to affect your income and participate in Money Battles. Security are used in order to protect Yakuza 0 Real Estate Staff List Guide – Get The Best Staff. Yakuza 0 features tons of exciting and rewarding mini-games, one of which is the Real Estate mini-game. This Yakuza 0 Real Estate Staff List Guide features the best staff you can find in the game, how to recruit them and details on their costs. Real Estate Royale is a Yakuza 0 mini-game in which you control Kiryu as he attempts to take over businesses from the Five Billionaires. 1 Areas 1.1 Electronics King Area 1.2 Gambling King Area 1.3 Leisure King Area 1.4 Media King Area 1.5 Pleasure King Area 2 Staff 2.1 Advisors 2.2 Guards 2.3... This page seeks to help you navigate through the Real Estate Royale. you have the opportunity to change staff and improve properties. Yakuza 0 is a prequel game in the action-adventure $ 0.00 0 items; Pretty Knits are the prettiest, best priced Knits in Pink and Green. Pieces can be mixed and matched to make multiple outfits. Pretty Knits are designed to mix and match and most are custom made as ordered. We can also make your top and bottom 2 different sizes if needed. yakuza 0 real estate properties

yakuza 0 real estate staff top

[index] [7891] [2300] [180] [4605] [2177] [2725] [3641] [9678] [5206] [6123]

Yakuza 0 but I just work in Real Estate - YouTube

The final target of Kiryu's "side story", the Media King. You need ¥7,756,800,000 to buy all the areas properties. Build them up and at certain points, you w... Time stamps: For Kiryu's real estate property acquirement: 0:00 Leisure King Area shops 3:08 Electronics King Area shops 6:32 Pleasure King Area shops 9:41 G... ----- Check out the Yakuza Zero playlist:https://www.youtube.com/playlist?list=PLt26dETkLKL... About Press Copyright Contact us Creators Advertise Developers Terms Privacy Policy & Safety How YouTube works Test new features Press Copyright Contact us Creators ... Chapter 2: The Real Estate Broker in the Shadows Walkthrough of Yakuza 0 on the PlayStation 4 Pro in 60fps. Complete walkthrough: https://goo.gl/E6ytbN Genre... Yakuza 0 - Chapter #2 - The Real Estate Broker in the Shadows (Part 1) recorded in full HD.Yakuza 0 Walkthrough Playlist: https://www.youtube.com/playlist?li... Leisure King Properties:https://youtu.be/RRluC4Go1rEElectronics King Properties:https://youtu.be/6_6qso5lPOgPleasure King Properties:https://youtu.be/t6dHy1d... Yakuza 0 is set in Japan's bubble era, a period of extremely high property prices in Japan during the second half of the 1980s. The game's two principal loca...

yakuza 0 real estate staff

Copyright © 2024 m.realmoneygames.xyz