This gritty technicolor of Osaka prefecture retains wondrously in Ridley Scott’s encapsulation of Yakuza lore in the film BLACK RAIN. The smoke-filled pond-lounge of my lung sac translates all the words correctly as I peer into a timewarp into 1989 cyberpunk mechanical glitz. Michael Douglas does his cuss right right into Yakuza prefecture aesthetic and out comes yen from his mouths.
Digitalized for your seamless/senseless pleasure Ridley Scott names Japan as techno chipnip timepiece of 80’s aesthetic world globe dome. What appears as a mask, is a mask, faceless Japan. Electronics is your bedding layer, Black Rain, steals your eyeballs, pillars nowhere downed in rows. Rolls down the glittered neon ally way, heads of Yakuza, SUMIMASEN! Good now we have good reason for the drink!
The multicolored infrastructures of Japanese Osaka prefecture makes fishes of my eyes. Your color palette of taste will be black grey black before long, longer than that because of tattoo. Ridley Scott makes moves all day into circa 1980’s prefecture reveries. Black Rain is peak of Japan, speaks of Japan awe. You have not lived (perhaps) without admitting this Michael Douglas gem into your precious monosoul.
Once Osaka prefecture undergoes warping via liberation, we will all too. The aesthetic layers onto itself like self-aware robots. Insert your player into the mass of crowded mess. The symbol of moneys pays for its sleep, so it has too! What Ridley Scott does well he keeps to himself.
Ridley Scott makes as if 1989 lasts all day in my heart of hearts concerning Osaka prefecture love. If Black Rain film does not place you correctly into proper 80’s Japanese aesthetic, you are not staying long enough into 80’s ocean doll. Osaka is neon glory hole to Michael Douglas reveries.
Japan, answer this quickly: Japan is a robot, no? Turn out your pockets Osaka prefecture, you are emptied.