How fantastic they are

-- Fireworks!  How fantastic they are, and how fascinating to the eyes and minds of children. When it comes to fireworks, even adults suddenly find they still have the eyes and minds of children. Even small fireworks--squibs and roman candles and Catherine wheels--hold us spellbound for the brief time they are alight and moving.  How much more those larger fireworks that burst high up in the air in flowers of breath- taking beauty.  No wonder the Japanese call them hanabl, or flowers of fire.  What is the reason of this fascination?  It is. no doubt. the manifestation of some hidden power in the world of nature.  It is the power of fire, in which the Greek philosopher Heraclitus found the source and origin of all existence.   It is a fearful power when it gets out of control, as in the Great Fire of London or in the fires of Tokyo towards the end of World War 11. Yet for all its fear, it fascinates us.  In the form of fireworks, however, we find not its fear but only its fascination.

At the same time, fireworks, more than other forms of fire, leave in us a feeling of evanescence.  No sooner do they appear, like the sudden unfolding of a bright flower in the darkness, than they disappear.  They come, as it were from another world, in a brief moment of intersection between time and eternity--and then they are gone.  Such, we reflect, are all our joys in this imperfect world. Such, too, is the life of man--beautiful but brief, and the briefer it is, the more beautiful it becomes.

My own memories of fireworks go back to the days of my English childhood, when we celebrated Guy Fawkes Day on the fifth of November.   This celebration was instituted to recall the discovery of the Gunpowder Plot, to blow up the two Houses of Parliament.  In 1605, Guy Fawkes was the man who was caught in the act of setting fire to the fuse.  Thus, unlike the Japanese who like to let off fireworks on hot nights of summer, we English associate them (like ghost stories) with a cold night in winter.  And if we recall the historical origin of Guy Fawkes Day, we also associate the fantasy of fireworks with the fear of gunpowder.

These two things, the fantasy and the fear, strangely fit together.  It seems that the fire powder, which is common to both, originally came from the East, from India and China.  There it was invariably the fantastic aspect that prevailed, even in time of war, when the fire was used not so much to destroy as to terrify the enemy. This is perhaps because of the contemplative attitude to nature characteristic of the East.  In the West, however, our attitude is more practical, as in the famous dictum of Sir Francis Bacon that "knowledge is power".  So when this strange powder came to the West, towards the end of the Middle Ages, it was chiefly used for its destructive properties, as gunpowder.

Looking up the word in the Oxford English Dictionary, I find it interesting that the first recorded use of  ''fireworks" in its fantastic sense occurs in 1575, in connection with a firework display given at Kenilworth Castle in honor of Queen Elizabeth.  On this occasion, it is conjectured, the young William Shakespeare himself was present.  For Kenilworth was only a few miles from his home in Stratford; and in his play A Midsummer Night s Dream he recalls the entertainments presented on the occasion, though not the actual fireworks. Elsewhere, however, he refers more generally to "some delightful ostentation, or show, or pageant, or antique, or firework" in Loves Labors Lost.

Both in Shakespeare's time and since, fireworks have commonly been regarded in the West as a special, because expensive, form of entertainment.   Only on the fifth of November are they as it were domesticated and democratized, in our back gardens at home. In the past, when fireworks were let off at official celebrations--as at the royal display in 1749, for which Handel composed his famous music for the Fireworks--they were entrusted to the expert care of   "fireworkers", as soldiers of the artillery were called.

In the East, however, they have been closer to common life.  Of course, there are the many special occasions, as at Nagaoka and the Sumida river, when vast sums of money are spent on their display; but they are also let off in private homes--where they still have gardens--on many a summer night.  To my English mind it is as if every night in summer is a commemoration of Guy Fawkes, without the guy.  This is what makes me still think, as I thought on my first arrival in Japan some thirty years ago, that this country is indeed a fairyland.  In the daytime its fairy-like quality may be concealed beneath the increasing advance of industrialism; but at night it is this very advance that contributes to the multitude and magnificence of the firework displays in summer.

In proof of this assertion I need do no more than point to the pages that follow, with their silent but eloquent testimony.  Yes, Japan is at once the land of hanaml (or cherry-blossom) in spring and of hanabl (or fireworks) in summer.  It is still, for all its industrial development, the land of flowers and of fairies.  On the surface the Japanese may seem a practical, even materialistic people; but one only has to scratch this surface a little, to discover their fire and fantasy. (Professor of Sophla University).

The Origin of Fireworks
Development from Signal Flares
In the strictest sense, fireworks as we know them today were born sometime after the invention of gunpowder.  However, it is said that the idea of fireworks had already existed in ancient India and Persia, as well as in classical Greece and Rome.  Looking further back in history in search of the origin of fireworks, we encounter the use of flare signals--the alleged prototype of fireworks--which can be traced back to long before the time of Christ.

In 211 B.C., China was unified by Shih-huang-ti of Chin.  To arrest the penetration of the nomads from the northern steppes, he built the Great Wall of China, which was designed to have signal towers at strategic points.   They were used to warn the army behind the wall of any intrusion by enemy forces.   Smoke signals were used during the day and bonfires at night.  It is believed that saltpeter (potassium nitrate), the main ingredient of black gunpowder, was added to the firewood.

Black gunpowder is known to be the oldest form of explosive.  Composed of 70% potassium nitrate, 15% sulphur, and 15% charcoal, it is indispensable in fireworks.

It has been widely known in China since ancient times that the addition of potassium nitrate to firewood made the fire burn in a peculiar manner.

A story is told that in 616 A.D., during the Sui dynasty, a flare signal--summoning reserve troops to military service--was set off to entertain the morose wife of the emperor Yang-ti.  When the soldiers gathered, all with a sullen look on their faces, the sight was so amusing that it made her laugh.   Some historians believe this to be the first instance of the use of flares as fireworks.

In the following Tang dynasty (618-907), China witnessed the invention of gunpowder.  Considering that potassium nitrate had already been in use for a long time, this came somewhat late.

Even if fireworks seem to have been used during Tang times with the introduction of gunpowder, a different theory claims the first appearance of fireworks in China during the Southern Sung dynasty (1127-79).  During this period, proper fireworks are said to have been introduced into the market and used in court entertainments.

Florence
the Birthplace of Modern Fireworks?
The basic technology for the creation of gunpowder was first developed in China, and Arabian merchants introduced it to Islamic countries in the 13th century.  The knowledge of this novelty was relayed to European intellectuals via Arabian literature during the latter half of the century, and in the early 14th century Europeans acquired the use of gunpowder during the Fireworks and the Edo Period.

Crusades.
Following the introduction of gunpowder, fireworks came into use in Europe.  The first such use is said to have taken place in Florence, and from there fireworks spread rapidly into all parts of the Continent.  For this reason Florence is claimed to be the birthplace of modern fireworks.

Nevertheless, no literature exists to support this claim.  The origin of fireworks in Europe cannot be traced to a specific period or location as in the case of China. The history of fireworks seems to have been shrouded in mystery due to the inherent dangers and the need for secrecy deriving from their military significance.

Fireworks Become Popular
after the Advent of Leyasu
No one is sure when fireworks were first used in Japan. There are numerous conflicting claims as to the date.  It is said that the first person of note in Japan to see fireworks was Tokugawa leyasu.  In a biography, the Butoku-hennen-shusel (Annals of Butoku), as well as in the Sunpu-fu Seljl roku (The Political History of the Suruga Government) and the Kyuchu Hlsaku (Secret Court Policy), he is described as having gone to view a fireworks display. The above mentioned documents are records of the two meetings on August 3 and 6, 1612, between leyasu and an Englishman, John Salis, the founder of a trading house in Nagasaki. Salis, as an official representative of James 1, presented a letter from the king to leyasu at one of these meetings.

The meeting between leyasu and John Salis is a historical fact, and the letter from James I is reportedly preserved in the British Museum.

As a result of the absence of reliable sources prior to leyasu's first encounter, this event has been considered the start of the history of fireworks in Japan.

Following this, fireworks became popular with the daimyos, or feudal lords.  The spectacles orchestrated by major lords of Owari, Kishu, and Mito, as well as of Sendai and Kaga, were particularly popular, attracting flocks of the common people of Edo seeking relief from the summer heat to watch the fireworks.

The third shogun, Iemitsu, a famous fireworks fan, allegedly encouraged the use of fireworks on various occasions.  This provoked the rapid popularization of fireworks among the common people.  Eager to embrace anything novel, the people quickly made them a part of their lives.

Boating on the Sumida River
Reaches the Pinnacle of Luxury
Boating on the Sumida River started in earnest after the transfer of the Tokugawa shogunate to Edo. The first such pleasure-seekers were the daimyos, who installed roofs on their boats and drank sake with courtesans.  Boating reached the height of its popularity during the reign of lemitsu.

The Great Fire of 1657 devastated Edo and brought boating trips to a halt. However, the city recovered and expanded at a startling speed, so that in the late 17th century the daimyos, hatamotos (warrior classes directly under the shogun), and the merchants prospered and led lives of extravagant luxury.

Luxury.
The completion of Ryogoku Bridge in 1659 stimulated much boat cruising along the river, attracting many who sought to escape from the summer heat.  Later, fireworks launched into the sky around the bridge became one of the attractions of the city.

The Noryo Hanabl ('coolness-in-summer' fireworks) were similar to today's Gangu Hanabi (fireworks for the general public).  Vendors on boats peddled their firecrackers to the customers on the roofed boats and displayed them at their request.

Although the use of fireworks had spread also in the city, the enforcement of orders restricting the use of fireworks to the Sumida River resulted in the spectacle of large number of pleasure boats emitting fireworks during the summer.

The practice of celebrating the opening of the boating season with fireworks dates back to 1733, the year following a great famine, in which swarms of locusts decimated crops in western Japan.  Many people also died in the epidemics that ravaged the land.

The shogunate (under the eighth shogun Yoshimune), seeing the gravity of the situation, sought to dispel evil spirits and illness by holding a suljln-sal, or water god festival, on the Sumida River.  On this occasion, eating houses were allowed to open on Ryogoku Bridge and fireworks were launched.  This was later adopted as one of the customs for celebrating the commencement of the boating season.

Spurred by such displays of fireworks, the daimyos, whose residences were located along the river, sought to entertain themselves with their own firearms and so-called Noroshi Hanabl (flare fireworks) which were invented by their own explosives experts.  This provided the basis for the large-scale firework spectacles created later by specialist craftsmen.

The Two Great Craftsmen Who Captivated Edo
The development of Ryogoku fireworks is without doubt due to the two great craftsmen Kagi- ya and Tama-ya.

The founder, Kagi-ya, was dexterous with fireworks even from childhood and is fabled for his trick of balls of fire scaring government officials who visited his home from time to time. He first began selling fireworks at his store in Nihonbashi in 1659. The sixth descendant of his family was the first to win charge of the Ryogoku fireworks, and contributed to the success of Kagi-ya as the annual spectacle which attracted the greatest attention.

Tama-ya started out as an apprentice of Kagi-ya but soon became very popular on his own account, so that his reputation exceeded that of his former master. It was during this period that fireworks appeared in many ukiyoe ("floating world") prints.  Many such pictures featured Tama-ya fireworks, attesting to their popularity and sophisticated technology.

However, a fire in 1843 in the Tama-ya workshop burned down not only the workshop itself but many neighboring houses.  At the time, fire--both arson and accidental fires--was considered to be a serious crime, particularly on the day before the shogun's pilgrimage to Nikko, and Tama-ya was expelled from Edo and his family heritage destroyed--despite the immense support of the people.

Meanwhile, Kagi-ya continued to be responsible for the Ryogoku event, and his name was handed down through the generations.

Fireworks Become Fashionable
during the ''Meiji Period''
The chaos created by the fall of the shogunate distracted the attention of the people of Edo from firework displays on summer nights and the Ryogoku event was suspended after 1863.

It was revived, however, on June 8, 1868.  The excitement created by firework displays at that time was extremely high; the enthusiasm of today is no match.  The fact that special trains were put on by the national railways in 1874 for firework displays is eloquent testimony to this.

The enthusiasm of the common people for firework displays was not affected by Western influences, and remained as great as it had been in the Edo period. However, when the Ryogoku Bridge, jam-packed with spectators, started to split in two in 1897, new laws were decreed forbidding booths to be opened on the bridge on the day of the fireworks and prohibiting persons from even strolling on the bridge.

From then on, sightseeing boats became subject to rigid supervision, and firework displays by persons other than the official organizers were prohibited.

Introduction of a New Type of Gunpowder
Brings Dramatic Changes
Despite such administrative interference, the growth of the popularity of fireworks saw no end.  This was not unrelated to the development of firework technology at that time.

The introduction of potassium chlorate into the country around 1879 brought a revolutionary change to Japanese fireworks.

Fireworks had until then used black gunpowder, composed mainly of potassium nitrate, sulphur, and charcoal, which ignited at an estimated 1700 degrees.  This had given the explosion a dull red color. The addition of potassium chlorate raised the combustion level to more than 2000 degrees allowing bright reds and greens to be emitted.

The debut of the new ingredient drew a line between the older "Japanese" fireworks and their new "Western" counterpart, and was a turning point in fireworks technology.

This great innovation in the Meiji period also witnessed a considerable number of accidents caused by insufficient knowledge in handling such chemicals. Especially because of the high risk involved in mixing potassium chlorate with other chemicals--increased susceptibility to slight shocks and friction--serious accidents occurred.

Nevertheless, the skilled craftsmen of the time vied with each other to create a spectacle of unparalleled grandeur in the face of such danger.   Fireworks competitions were held around the country, and many a skilled craftsman launched his masterpieces to display his skills.  This was the dawn of the age of modern fireworks.

During the Taisho period (1912-1923), the development of skills was most clearly seen in changes in the shape of fireworks.

For instance, one type of firework that appeared in the mid-Taisho period is called the poka mono (crack shell), because it splits into two in the air and lets out a flow of stars in one direction, like a willow swaying in the wind.   In another, called kowarl-mono (small crack shell), balls that suggest tiny chrysanthemums and peony blossoms pour out from the cracked shell.  It is recorded that the sight of petals scattering in the dark sky impressed and thrilled the spectators.

In the late Taisho period, the kowarl-mono was improved to show double bipetalled flowers or an additional core to the flower, called the yae-shln (double core).

A Blank Phase in History
Competitions among firework craftsmen peaked during the Taisho and early Showa period. The effects they created were astoundingly beautiful; yet these men refused to discuss any matter concerning their know-how and the efforts they made to create their ephemeral shows.  The tradition of passing on trade secrets only to the craftsman's own son died hard.  Knowledge was kept under cover and restricted to close relatives.  Hence, the invention and development of a new type or a new skill necessitated the stealing of secrets through persistent attempts.

Fireworks in Prayer for Victory
in War Launched Daily
The peace enjoyed by these craftsmen did not last long.  Japan was treading the path toward war, and the craftsmen were forced to use their skills to aid the war effort.

The outbreak of the Pacific War suspended fireworks altogether.  Virtually all of the fireworks plants were either closed or operated as subcontractors for military equipment. The world-class technology had to yield to the forces that dominated society, and the industry entered a blank period.  This vacuum coincides with the darkest times suffered by the Japanese people.

Postwar Recovery
After the long war had finally ended in August 1945, the craftsmen who had been drafted into military service returned home.

Nevertheless, it was not a time to seek pleasure in fireworks; there was a basic need to be satisfied-- hunger.  People all around the country suffered from food shortages, and every day saw a struggle simply to survive.

After the war, the occupation forces (GHQ) issued a decree forbidding the use of all firearms and swords, as well as explosives, including fireworks.

The Americans at GHQ were not able to understand that fireworks were a symbol of peace after years of suffering during the war and were entirely different from weapons.  The misunderstanding arose from the fundamental difference in character between Americans and Japanese.  However, an unexpected chance came in May 3, 1947, when a fireworks display was to take place in the plaza in front of the Imperial Palace to commemorate the proclamation of the new Japanese constitution.  The first such event for a war-weary people decorated the skies of Tokyo, still shattered and in ruins, and represented a pivotal date in the history of fireworks.

Continued persuasion of the GHQ to allow the holding of such exhibitions led finally to approval in 1948.  On August 1, the people were able to confirm for the first time in a long while the resurrection of a peaceful Japan near the Ryogoku Bridge on the Sumida River.

On September 18 of the same year, there was even a national fireworks competition in the Hama- cho district to test the skills of individual craftsmen.  The time had arrived for craftsmen to concentrate once again on displaying their skills.  Later, despite suspensions caused by pollution, the population explosion and the deterioration of traffic conditions accompanying the nation's economic growth, fireworks were revived and are now attracting large crowds every year, as well as a solid reputation nationwide.

Of the competitions for craftsmen in Japan, the most traditional are the Starmine Concours in Ise City, Mie Prefecture, the Large and Consecutive Fireworks Contest in Tsuchiura City, Ibaragi Prefecture, and the Original Fireworks Contest in Omagari City, Akita Prefecture.

These competitions have provided craftsmen with a chance to test a wide range of colors and shapes and the use of modern types of fireworks.

New technologies are being adapted for brighter color and more impressive form--and at the same time greater safety.  These master craftsmen must constantly take these two requirements into simultaneous consideration.

How Fireworks are Made
A fireworks manufacturing factory has a distinctive atmosphere.   Many are located far away from populated areas.   A number of small, concrete structures are scattered at random across a large tract of land.  Three--no more than five--craftsmen work in one workshop.  An unsuspecting person would not know that this was where fireworks are made or even that it was a factory. Firework factories are built so as to keep damage to a minimum in case of an accident.

This invention that paints the night skies with spectacular beauty can at the same time be exceedingly dangerous, and thus the utmost caution is taken to prevent fires.

All workers, including the craftsmen, wear cotton clothing, since synthetic material may create static and easily cause a fire.  For the same reason, footwear is restricted to rubber-soled shoes.  When entering the "Danger Work Room'',  where explosives are handled, a static discharge located at the entrance is used to remove static electricity.

Such meticulous caution and a great deal of effort help to create the world-renowned Japanese fireworks.

The Making of Fireworks
The firework manufacturing process is basically the same as in the past.  This is due to the early establishment of a sophisticated technology and also to the difficulty of mechanizing such dangerous work.  Most of the balls are made meticulously by hand, requiring a level of diligence at the factory that is hard to associate with the spectacular and fleeting beauty that lights up the sky.

1. Mixing
Production begins with the mixing of chemicals.   Foreign matter is removed from oxides and other flammable materials by sifting them with a sieve. The ingredients are measured in an exact ratio and later mixed.  The proportion of the chemicals and various metal powders determines the light sound and color.

Although fireworks craftsmen used to make the powders themselves, today they are made by chemical manufacturers.  The mixing process still remains a delicate task which cannot be left to machines.

The chemical mixture produced is called waza.   The larger the number of waza types, the greater the variety of effects becomes.

2. Making of Explosion Catalysts
The explosion catalyst cracks the ball in the air.   Because the explosion catalyst possesses destructive power comparable to other explosives, the process requires the experienced hand of a skilled craftsman.  Glue, (e.g. rice granules) is added to a mixture which includes potassium perchlorate and water, and is mixed into paste form and dried on rice hulls.

3. Star-Making
The success of fireworks is determined by the "stars".   Hence, the craftsmen pay as much if not more attention to the making of the balls, as they do to the other stages of production.

Although there are various methods of making stars, the most common is the repeated application of layers of waza on to a small core to form a large spherical shape.  Waza is also mixed with water and glue.  The mixture is applied to the core and dried repeatedly.  The layering of waza of different mix ratios creates changes in color and light.  Due to the necessity for drying, a considerable amount of time is needed to complete the work.

In addition to the finish, each star must also be uniform in size.  This makes possible the simultaneous change of color of the flower and instantaneous disappearance which are part of the spectacle.  The hardest aspect of the task is to keep the size even with each application of waza.

While this task was done manually by rolling on a tub, today's mechanization has reduced the physical labor involved.  Certain special fireworks, however, still need to be made by hand.

Plant seeds or sand grains are usually used for the core; occasionally waza is molded into a 5mm. cube as a "cut star".  In the West, the production of this cut star is the end of the task but Japan's unique and refined technology starts here by applying more to this star for colorful changes in the sky.

4. Sphere, Skin and Fuse
The container for the firework is called the sphere skin.  It is a wooden spherical mold pasted with paper and cut into halves.  One of the two is connected to the fuse, which works as a time switch calculated to explode when the ball reaches its maximum height.

5. Packing
After all the components are ready, the assembly--or packing--starts.

For a crack-shell type, stars are lined along the inside of the sphere neatly and tightly.  A thin piece of Japanese paper is attached as lining and filled with waza, or the explosion catalyst.  The mold is lightly pressed with a board to level the mixture.  The two hemispheres are then quickly brought together, tapped lightly so that they mix, and then sealed with glue and sturdy paper.

However, this method is used only up to the No. 5 size sphere; larger spheres require a complex method called the ten-o-zume.

6.  Sealing
The finishing stage is the sealing.    Traditionally, Japanese paper was used, but this has now been replaced by craft paper.  Two sheets of craft paper are pasted together with glue which softens after some time.  This is then cut into strips corresponding to the size of the ball and applied to the ball to form four equidistant bands.  A uniform explosion is necessary for an even scattering into a pearl-shaped flower.

The paper is applied and dried repeatedly in a slow process.  Another important task is the rolling with a wooden board to squeeze out air from between the sheets and for better sealing.  The more care put into rolling the firework and the more effort put into its creation, the more reliable it will be.

Such is the process of making a crack-shell ball. The poka-mono has a thin skin and is designed to split into two by an explosion along the seal.

The entire process at the factory ends here, but this is not the final phase.  It reaches its culmination with the flowering of the firework in the sky and its disappearance in front of the spectators.

The Scenic Firework Mechanisms
Scenic fireworks come in a variety of forms and shapes.  The representative form is the ''frame'' firework, which portrays characters and scenery on a large frame built with logs.

This is prepared by making lances--cylindrical shapes with a 1Ocm. length similar to a pencil, filled with catalysts of red, green, yellow and blue.  A latticed wooden frame is built, to which a board of split bamboo or thin sticks is attached.  The design of characters or pictures is then etched on the board with nails.  Lances are then placed at uniform 1Ocm distances.  The lances are then linked with quick- ignition fuses attached to their heads.

Ordinarily, one frame is 2m square in size, and has one character written on it. Such frames are installed according to the design at the site of the firework display, each being linked with a quick- ignition fuse.  When one is lit, each lance is ignited, creating characters and pictures in the dark instantaneously. The lances burn for approximately one minute.

Immediately before the firework dies down, a skyrocket is launched to distract the spectators' attention.

If it rains before ignition. the entire firework is ruined, to the dismay of the people who created it. This is part of the luck of the game as far as a firework craftsman is concerned.

Mt. Fuji and Niagara Falls
Similar fireworks include the harlmono shlkake which are scenic displays representing Mt. Fuji and Niagara Falls, and emerge in silver-white in the darkness.  Paper cylinders measuring 15mm in thickness and 25mm in length are filled with catalysts containing aluminum powder and hung from a rope at roughly 50cm intervals.  These are ignited in a fashion similar to the lances.

For Niagara Falls, logs are placed at 10 meter intervals on the firework site and are attached to each other by ropes.  The length can be adjusted to the space available.  If longer than 100 meters, ignition must be made simultaneously at several locations for the instantaneous glow.  The sudden appearance of a silver white cascade illuminating the surroundings is a majestic sight.

For Mt. Fuji, the ends of the rope (to which lances are attached) are lowered from the top of the bridge in the shape of the mountain. The materials are the same as those for Niagara Falls.

A typical consecutive skyrocket firework is called the Starmine.  The skyrockets used are filled with balls of different sizes, as well as multi-colored stars and small flower rings.  From tens to hundreds of fireworks are prepared and secured tightly for lighting with a quick-ignition fuse.  The ignition shoots the balls into the air. and at the same time creates a decorative core of fire.  As the fireworks blossom in the sky the colors and the sounds of varying amplification are coordinated. Differing from single fireworks, the Starmine creates an overall effect of great beauty.

The Starmine is considered the most expensive and the most grandiose type of firework.  The color and noise of the fireworks bursting out from several hundred cylinders one after another is the highlight of any fireworks festival.

The assembly of the Starmine is ordinarily done at the factory, though the work may be done on site for small-scale events or when involving special work. The procedure is generally as follows:

Preparation of the Cylinders
The assembly of the cylinders can be done either by linking five or six cylinders in a wooden frame or by welding or screwing several metal cylinders onto a steel sheet.  Being light and easy to transport, paper cylinders are used in the majority of events, but are disposed of after being used 10 times or when irregularities are found. Steel cylinders are checked after use and after being thoroughly washed to see if there is any rust on the joints or welding or if any surfaces are uneven. Aluminum has also recently been used for the cylinders.

Ignition
There are two methods of ignition--from the lower ignition point and from the top point.  Both have their advantages and disadvantages. The lower point ignition saves material such as fuses, but is susceptible to humidity.   The top point ignition method reduces the possibility of such ignition failure but involves a higher rate of accidents, such as damage to the cylinders.

Explosives for Launching
and Installation of the Fuse
The explosive for launching is put into a polyethylene bag and attached to a quick-ignition fuse, finally being wrapped tightly with a string.  The length of time to ignition can be adjusted by the length of the fuse, thus coordinating the timing of a launch.  Conversely, simultaneous ignition requires bundling of the fuse ends together with adhesive tape.

Preparation of the Fireworks
The launch explosives are placed into the cylinders attached to the frame.  After completion of this step, each cylinder is checked for errors, such as the absence of the explosive or the presence of two bags in one cylinder.   They are filled with spherical rockets, which are checked in advance for disfiguration, absorption of humidity, and loose fuses.  The contents of the cylinders are pressed in with cardboard paper, and the cylinders covered with lids.

Ordinarily, two 3-inch or smaller spheres can be placed in a paper cylinder, but it can hold only one large sphere.  For steel cylinders, the limit is two 4-inch spheres.

When several hundred cylinders of this type are launched in a large-scale Starmine show, one can fully agree that its nickname.   Sokusha Renpatsu (Fast & Continuous Shots), is a fitting description.