Persona series character designer Shigenori Soejima concept sketches of Hakushu Murasame, one of the characters in Sakura Wars, released in the West today on April 28, 2020.
https://blog.us.playstation.com/2020/04/28/discover-the-striking-art-of-sakura-wars-available-today/
hakushu 12 在 憑高酹酒,此興悠哉 Facebook 的最讚貼文
淺談WWA競賽的評選方式
基本上,WWA的競賽項目分為兩大類:品飲(Taste)和設計(Design),不過我先不談設計類,而專注在酒友們較感興趣的品飲類。
與其他烈酒競賽比較,WWA的評選方式還算透明,官網上都找得到資料,但實際操作方式必須從公布的酒款名單中爬梳,才能真正明瞭其中奧妙。
首先,以2020年的競賽規則而言,品飲競賽分為16種類型(Category)各自評選,而每一種類型又細分不同的分類(Style)如下:
調和麥芽威士忌(Blended malt):無酒齡標示(NAS)、12年以下、13~20年、21年以上
調和威士忌(Blended whisky):無酒齡標示(NAS)、12年以下、13~20年、21年以上
加拿大調和威士忌(Canadian blended):無酒齡標示(NAS)、12年以下、13~20年、21年以上
調味威士忌(Flavoured whisky):有酒齡標示
穀物威士忌(Grain):無酒齡標示(NAS)、12年以下、13~20年、21年以上
壺式蒸餾威士忌(Pot still):無酒齡標示(NAS)、12年以下、13~20年、21年以上
裸麥威士忌(Rye):無酒齡標示(NAS)、12年以下、13~20年、21年以上
單一麥芽威士忌(Single malt):無酒齡標示(NAS)、12年以下、13~20年、21年以上
單桶單一麥芽威士忌(Single cask single malt):無酒齡標示(NAS)、12年以下、13~20年、21年以上
玉米威士忌 (Corn):無酒齡標示(NAS)、12年以下、13~20年、21年以上
限量調和威士忌(Blended limited release):無酒齡標示(NAS)、12年以下、13~20年、21年以上
波本威士忌(Bourbon):肯塔基、非肯塔基
田納西威士忌(Tennessee):有酒齡標示、無酒齡標示
小麥威士忌(Wheat):無酒齡標示(NAS)、12年以下、13~20年、21年以上
新酒(New make):未入桶、入桶不滿3年
單桶波本威士忌(Single barrel bourbon):無酒齡標示
雖然每個國家都可能有不同的生產規範,但「類型」的定義仍依循主要產國而定,只要按該種法規製作的威士忌,便能報名參加該類型的競賽。舉例而言,全球只有蘇格蘭制訂單一麥芽威士忌的法規,不過其他產國製作的麥芽威士忌,只要符合「單一」的定義,都可以報名參賽。但由於蘇格蘭是「單一麥芽威士忌」和「單桶單一麥芽威士忌」這2個類型的發源地,參賽酒款眾多,因此第一階段以產國為單位評比時,將蘇格蘭再細分為高地、低地、斯貝賽、坎貝爾鎮、艾雷島以及島嶼區等6大產區獨立評比。
至於評審方式,主要分為三階段進行:
(1) 第一階段
以盲飲方式,針對16種類型的威士忌,以產國及/或產區為單位,依據競賽的分類法(如NAS、12年以下、13~20年、21年以上)進行評分,而後依評分高低分別頒予數量不等的金、銀、銅牌,並且評選出該分類的優勝者(winner)。WWA官網公佈了2020年第一階段的評選表單,酒友可自行下載。以台灣而言,三家酒廠分別參加了3種類型的競賽,也各自成為該類型的產國優勝者。
(2) 第二階段
評審同樣以盲飲方式,從各產國、產區的類型優勝者中,選出冠軍酒款。2020年的WWA並未公佈此階段的優勝者,不過以「穀物」及「單一麥芽威士忌」為例,臺灣只有Holy及噶瑪蘭參加NAS分類,成為當然的冠軍,但「單桶單一麥芽威士忌」的臺灣隊分別參加了2種分類(12年以下及NAS),雖然都是Omar,但必須PK出勝負。
(3) 第三階段
各產國、產區的各類型冠軍將在這個階段互相評比,選出最終的世界最佳威士忌,因此評審的組成尤其重要,除了前2輪的評審以外,另外還邀請蒸餾者及專家組成評審團。2020年3月底公布了16個類型的冠軍酒款,臺灣隊在3種類型中都未能更上一層樓,世界冠軍為:
穀物威士忌:Fuji Single Grain 30yo Small Batch
單桶單一麥芽威士忌:Tamdhu Sandy McIntyre's Single Cask No.2986
單一麥芽威士忌:The Hakushu Single Malt 25yo
hakushu 12 在 Chia-Chi Yu / 達姆 Facebook 的精選貼文
‘Kodomo no kuni (Children’s Land) was Japan’s leading illustrated magazine for children in the early decades of the twentieth century. It was founded and published by Kyutaro Takami in 23 volumes and 287 issues from January 1922 to March 1944.
The magazine included pictures, stories, children's songs, dances, plays, and articles on handicrafts for young children. It was published in a format and content pioneering a totally new genre of artistic children's magazines.
The 260 x 185 mm format was somewhat larger than the conventional journal. A heavy matte paper was used, both to enhance the feeling of intimacy for young readers and to sustain repeated turning of the pages.
The effect of color printing on this paper turned out to be outstanding, and eventually provided a vehicle much in demand for numerous talented artists whose creativity was devoted to children.
It was the time of the free spirit of "Taisho democracy," when educators were advocating a child-centered system of education stressing the natural personality and individuality of children.
Editorial advisor Kurahashi Sozo, a leading authority on children's education, strongly believed in the role of art in the pursuit of the ideal way of life. He called on artists to produce varied yet genuinely artistic forms of expression for children. The editorial staff included poets Kitahara Hakushu and Noguchi Ujo as advisors on children's songs, composer Nakayama Shinpei as advisor on musical compositions, Wada Koko as editor-in-chief, and Okamoto Kiichi as chief art editor.
The artists regularly attended editorial meetings of the journal. 0They were encouraged to view children straightforwardly, ask what they were thinking, and to urge young readers to find themselves in the pictures. In the first phase of the journal's publication, from 1922 to 1932, more than one hundred artists contributed, a quarter of whom were women.
The leading artists were Okamoto Kiichi, Takei Takeo, Shimizu Yoshio, Kawakami Shiro, Hatsuyama Shigeru, and Honda Shotaro, all already highly reputed in children's magazines for their work. Tokyosha also brought in the already established artists Takehisa Yumeji and Hosokibara Seiki to join them.
The 1920s was an era of urbanization and technological revolution. The role of art in society was also transformed with the growing importance of such genres as architecture and commercial art. However, Kodomo no kuni maintained its devotion to the nourishment of the minds and hearts of children in the newly modernized Japan. The pages of Kodomo no kuni brought to children pictures not only illustrating poetry and stories but also vividly recording the colorful daily life and fantasies of childhood.’ – From the Kodomo no Kuni website