#MOTOE interviews

[jackredfieldwasmyjacob]

idk if it's because my mum worked in a tv magazine or what but all the media wars and backstabbing and stuff happening behind the cameras is so so interesting to me

[thelostgirl21]

OMFG! This came across my dash, and given that Jaskier is, like, the most ADHD coded character I've had the pleasure of watching on screen since Jake Peralta, first thing that came to mind was...

"But what if having sex actually is one of the ways that Jaskier has instinctively found to self-medicate, though?"

What if he tends to be able to think more clearly, feel calmer, and be a bit less restless and impulsive after sex?

What if, sometimes, for example, he tends to start a bunch of different new songs at the same time, while struggling with finishing them, and thus feels driven to have sex with someone to help himself focus and complete them?

People with ADHD actually do tend to gravitate towards hypersexuality and hyposexuality (it's not considered an official symptom of ADHD per say, more a co-occurence... Like, I think that among men seeking treatment for hypersexuality issues and problematic porn consumption, they discovered 67% of them had ADHD or something...), and Jaskier's very high sex drive - while not necessarily considered a disorder in itself - is still enough to put him into some serious trouble at times and generate drama in his interpersonal relationships.

I mean, I don't want to call him sexually hyperfixated, but his very first impulse - after the world around him froze and a copy of himself appeared before him - was trying to assess the fuckability of the situation and if he might be into having sex with himself even before asking if he was still alive!

At the very least, it definitely seems that sex might be a coping strategy that he uses to relieve feelings of stress and anxiety.

We've already seen Jaskier go:

to cope with his emotions.

But he just might have this very instinctive:

coping response as well!

In a sense, maybe the way he reacted to Seanchai looking at him was a manifestation of that.

Anxiety going through the roof = Jaskier going:

Poor bard is just going through his life, facing impossible odds, and regularly going:

to manage the crazy levels of stress he's constantly being subjected to.

People think he's being promiscuous because he is irresponsible and immature or something, when the poor bard is just instinctively doing whatever he can to manage his blood pressure, and avoid dying young of some stress-related condition.

Of course, the desired therapeutic effect might be a little offset by the fact that a bunch of nobles tend to want to kill him for having had sex with their spouses and/or relatives... Guess he'll just need to go find someone to sleep with to deal with that stress then... Wait.

Jaskier to Geralt: "I think we should go to Redania... Ciri would have an entire army at her back, and I'd have a really sexy Prince at mine providing me with a steady dopamine, endorphin and oxytocin supply. Seriously Geralt, I'm only human, and if this keeps going, at this rate I won't live past 50!"

Radovid to his brother: "Look, I'm really shit at being a spymaster and a Prince, but years of being very bored and very gay at court have helped me develop a unique type of expertise. And now, I've just discovered there's this one thing - or rather person - that I can do, and do really well! And he's going through some apocalyptic-level stressful shit right now. So, you've got to let me go help him, alright?"

It also would make sense that Jaskier would be so driven to have sex with people, regardless of sexual attraction, if sexual activity happens to be a coping mechanism for him, that can both act as a psychostimulant, and/or as something to help him relieve anxiety, stress, and even the occasional depressive feelings.

In that case, it can also turn into a sort of cycle that becomes self-sustaining, i.e. :

People make him feel shame over his regular need for sex and "promiscuity" - - > it triggers his RSD and emotional insecurities over never being good enough for those he loves, or "too different" - - > he instinctively seeks sex to take his mind off those negative and painful feelings, feel wanted, connected to others, receive praise rather than harsh criticism, and flood his system with stress relieving and "feel good" hormones - - > people make him feel shame over his regular need for sex and "promiscuity" - - > it triggers...

And then, there's Radovid that never reacted negatively to the fact that Vespula was angry at Jaskier over the many, many different people he'd been sleeping with, openly called Geralt "his Witcher", wanted to help him find and rescue the rest of his family...

He's not putting any pressure on Jaskier to stop loving other people or being intimate with them to also be loved and wanted by him.

There are so many ways that Prince/King can help our poor bard manage and relieve his anxiety, including not making him feel wrong or inadequate for having such a need for sex in the first place...

Ironically, the way Radovid's brain works apparently "turns Jaskier on"... but Radovid turning him on - while also making him fell like he is enough - might also help "turn Jaskier off" (as in, help him modulate his overall need for sex in general) if there's less of a need for him to turn to sex to cope with the way his own brain works, and the distress it might occasionally cause him.

As an ex-nurse clinician, it is thus my professional opinion that someone should really officially prescribe some Radovid to Jaskier, to be taken PRN - p.o., as a spoon, intrarectal or however he needs him - and as often as he personally needs him.

It's not a want, it's a need. Someone needs to deliver some Radovid back to him ASAP.

Okay, and now I imagine Geralt just showing up with Jaskier at some point in Tretogor after Yennefer portals them both there, knocking on the castle door, and basically going:

Geralt: Yes, hi. Sorry to bother you. Things have been exceedingly stressful lately, and I have a bard that's been insisting on going back to see an ex-lover...

Jaskier: I'm telling you, it's fine!

Geralt: ...that's threatened to have him beheaded if she ever saw him on her lands again...

Jaskier: I'm sure she didn't mean it!

Geralt: ...and this idiot is willing to risk death...

Jaskier: She's actually really sweet once you get to know her!

Geralt: ...in the hopes that she'll agree to sleep with him.

Jaskier: I'm not even sure if she offered to cut off my head or give me head if she ever saw me again! You know how easy it is to confuse the two...

Geralt: No. No Jaskier, I do not.

Castle Guard: Ah... Yes, so um... what do you need us to do about -

Radovid: *Showing up out of breath, in a robe, with his crown hanging a bit sideways, after he took off running as fast as he could when he caught sight of Geralt and Jaskier approaching the castle from his private chambers' window.* Yeah... Hi... It's okay... *to the guards* I've ... I've... got this...

Jaskier: *Blushes and whines, leaning heavily against Geralt to avoid sliding to the floor at the sight.*

Radovid: *Concerned, to Geralt.* What happened? Is he okay? *Reaches out to Jaskier to hold him in his arms and help support him, looking for any sign of injuries.* Are you hurt?

Geralt: If you could just keep him with you and have sex with him for a few days, I'm sure he'll be perfectly fine!

Radovid: *Dumbstruck* You want me to do what now?

Jaskier: *Starting to kiss and nimble on Radovid's collarbone, insistently pressing himself against him.* Me. Do me. Now.

Radovid: Ah, alright, but we'll need to use the barracks. I'm not running all the way back upstairs!

Geralt: Don't think you'd even manage to make it to the first floor anyway.

Castle Guard: Ah, so, should we... give the order to empty the barracks your Majesty?

Jaskier: *Beginning to slide his hands under his robes.* They could stay and watch, or join in...

Radovid: I'm... not sure if that's the kind of support I'm entitled to expect or ask from the Redanian army, but if some of them want to stay, I guess... Why not?

Jaskier: *Briefly pulling back to look at him, realising he's not put off by, or disapproving of his behavior.* I love you.

Radovid: *Beams back at him.* I love you, too. Marry me?

Geralt: Boy, that escalated quickly!

[havithreatendub4]

#motoe #interview

#bts #filming

#2018 #motoe #interview

[ehcahache]

My god, Carlos is really going to announce his new team in front of some purple ant puppets 😭

[theanimeview]

[Reflection/Analysis] The Poe Clan: The Grief of Immortality

Source: The Poe Clan, Chapter 5

By: Peggy Sue Wood | @pswediting

At one point in time, I was obsessed with reading vampire novels. I couldn’t get enough of them, especially during my “Twilight phase.” Even now, I still enjoy vampire stories, but I prefer the philosophical ones that explore the nature of knowledge, reality, and existence. This preference may be why I’m drawn to Gothic literature but not to straight-out horror.

During the time I was reading all those vampire books, I discovered Moto Hagio’s The Poe Clan (1972-1976), a fascinating series of vignettes that reminded me of Anne Rice’s 1976 novel, Interview with the Vampire, despite their significant differences.

Interview with the Vampire, the first novel in The Vampire Chronicles series, tells the story of Louis de Pointe du Lac, a plantation owner in Louisiana who becomes a vampire after being turned by Lestat, another vampire. The two struggle for dominance over one another during their time together, and the novel explores themes of immortality, evil, and the meaning of humanity through this struggle, as well as the through the child vampire, Claudia, who struggles to live unchanged by time.

Despite their differences, both Interview with the Vampire and The Poe Clan share significant parallels, particularly in their characters’ internal struggles. Both works feature vampires being turned, but at very different stages of life. Lestat, an adult, turns Louis as an adult, while Edgar and his sister Marybelle are initiated into the Poe clan of vampires at a young age, forever doomed to live out eternity on the brink of adulthood.

Where Rice’s work explores immortality and its subsequent loss of humanity as being evil, creating deep conflict between mortality and immortality, Hagio’s explores immortality and its subsequent loss as one of profound grieving over being left behind by the mortal world. The Poe Clan also delves into the complex relationships between vampires and their isolation from humanity, in contrast to Interview‘s questionable coexistence, as a result of no longer being bound by time in the same way as their mortal counterparts.

Edgar feels guilt and mourns the loss of Marybelle’s and his own humanity, much like Louis feels immense guilt at Claudia’s death and turning. Edgar and Louis are figures of sorrow, abandoned by time and grieving its passing while remaining unchanged. Edgar is especially pained as he recognizes that he will forever be a child but forever growing on the inside too after having been turned as a teen, similar to Claudia.

Source: The Poe Clan, Chapter 5

For a short while, Allan and Edgar coexist in a peaceful way, but Allan is constantly reminded of Marybelle, grieving for her as his first crush, while Edgar is grieving too over her loss, his only sister and reason for being. Both characters mourn for Marybell in different ways; both characters are marked by loneliness and sorrow, seeking companionship desperately. After an incident that ends up killing a young couple, they take in the couple’s young girl named Lidelu and raise her for several years, but they never turn her. Edgar does not want to add more to the clan, and moreso than Allan, he recognizes the value of her mortality causing him to further grieve the fact that he will never experience the full range of human life like growing old and having a family.

In the end, The Poe Clan is a compelling exploration of the human condition and the search for meaning in a world where humanity marches relentlessly forward toward the future through the eyes of the immortal, adolescent vampires that were unwillingly left behind to watch, forever suspended in time. The dynamics between the vampires in The Poe Clan remind me so much of other vampire stories, particularly in the bond between Edgar and his sister Marybelle and later Allan. They are marked by grief and loneliness but take a unique approach in examining companionship during grief as both an accompaniment and issolating factor.

Truly, The Poe Clan a spectacular story to reflect upon and one I highly recommend reading if you have not done so already. (Oh, and on a final note: Despite its characters’ names being derived from Edgar Allan Poe and the setting of the Poe clan, there isn’t a direct tie storywise to the author and Hagio’s work.)

—

Written by Peggy Sue Wood and Editing using ChatGPT

[boanerges20]

1982 Barry Sheene Interview

[edwardashley]

piggybacking on KP (Theatres des Vampires actor) saying he was meeting up with his “Fang Gang”….a Point for my theory that Bruce/Killer is affiliated with TDV…and when u think abt it, narratively consolidating TDV and Fang Gang makes a lot of sense in terms of limiting the # of extraneous one off charas from the books and having us interested and invested when Akasha starts REDACTED them all in later seasons

[biglisbonnews]

Designing Ducati’s Diavel V4 We speak with the motorbike brand's Global Design Director, Andrea Ferraresi Stare long enough at Ducati‘s new Diavel V4 and it starts looking like something other than a motorcycle. Its exhaust twists into a metallic organ. From the side, a distinct visible bend cuts from the tail to the nose—a sort of curved stress line, with its highest point at the apex of the gas … https://coolhunting.com/design/designing-ducatis-diavel-v4/

[inlap]

rivalries where they're like 'no i don't think about him at all. for me, he's just another person to beat. it's not personal at all. i'm not mad. why do you think i'm mad?' >

[havithreatendub4]

#Murder on the Orient Express #London #premiere #2017 #motoe

[sirenicornio]

It's just what I was thinking!! At first I thought The Poe Clan had obvious references to Gothic literature, mainly Interview with the Vampire. Until I came across the surprise that Moto Hagio did it first 😵 And, let's be honest, I highly doubt that Anne Rice had any contact in Japan to read the manga and get inspired. They were two women at two ends of the world with the same idea reflected in her works.

I’m sure some of you may know this already, or have more insight, but I stumbled across the manga The Poe Clan by Moto Hagio, a serial that went on to have tremendous influence on the Shōjo and Yaoi genres. It tells the non sequential story of Edgar, a 14 year old “vampirenella” and his vampire “family.” Published in 1972 it came out before Interview with the Vampire and a lot of the scenes and subjects were striking to me in their similarity. For example, it concerns vampire children, a vampire girl who looks like a doll and does not survive, Alan, the male love interest who precipitates his turning through an incident where he knocks a family member down the stairs and believes he killed him before Edgar appears in his window and begs him to come with him. I haven’t finished, and I’m not saying this was a direct reference or something that Anne Rice even was familiar with, but I am wondering what was in the water in the 70s that these elements in vampire and Gothic fiction were coming together.

[jenysmithnews]

MOTO/WINTER EXHIBITION

I ve decided to do reviews of some of Jeny's earlier videos for those of you that might not have explored the older catalogue yet.

My first visit to earlier videos is Jeny at a motorbike exhibition where she interviews various people whilst wearing a black dress as short as only Jeny knows how to and with a pair of black knee high boots and pantyhose (is Jeny wearing panties? We find out soon enough!) and a cap with a silver badge!

Her first interviewee (or should that be victim!) is a Moscow police motorcyclist who Jeny flirts with outrageously and it's our first clue as to whether she is or isn't wearing panties (well we get our first clue as Jeny mounts the electric motorbike that the officer is proud of) Jeny is at her teasing best as she sits astride the bike and people quickly get their phones out to catch a glimpse of heaven.

We then catch her chatting to a guy who is showing off a piece of equipment designed to help bike riders to maintain their balance (well I think that was what was for, I was too busy watching Jeny trying to maintain balance whilst wearing very high heels!)

Which is when a couple sitting down next to Jeny notice that she is only wearing tights and the wife makes no secret of filming right up Jeny's ultra short dress and actually encourages other bystanders to do the same! Luckily Alex is videoing from the very same angle. Jeny is in 'innocent' mode surprised that anyone can see anything whilst giving the most outrageous of cheeky smiles to the camera.

The interviews are humorous as enthusiastic salesmen try their upmost to impress Jeny whilst clearly bewitched by this sexy lady. Next up is an older man who is taken by surprise by her request to do a nude shoot with his equipment and says 'of course' not realising that Jeny meant here and now! As screens are hastily erected around the stand,surely not the only erections that day. Jeny strips down to just her boots, seamless pantyhose, belt and cap. We get to see all of Jeny's body in all its glory as she lays back, legs spread wide revealing her pussy with the smallest of landing strips. Jeny is at her teasing best when wearing next to nothing in front of an audience or cameras and I for one can't get enough of her!

Later Jeny meets the Russian 'Lemmÿ' (of motorhead fame) and a very serious doctor whilst guys try to take pictures of Jeny upskirt and she plays her part magnificently!!

For those readers of this review who is are not already members, this video with well over 200 others like it are only a few clicks away at jenysmith.net

[empty-movement]

Musical Utena ~ Blooming Rose of Deepest Black EVERYTHING

Oh, hey! Did you like what I did with the 2018 Musical Utena ~ Bud of the White Rose? With the posting a script, lyrics to the main banger, and links to download the everything I ever did about it?

I'm back to bring you all that tasty kibble, but for the sequel that followed the next year!

Musical Utena ~ Blooming Rose of Deepest Black EVERYTHING

You've asked, like, a lot a lot, and finally I answer! You want the script? You want some goofy memes and meta? You want to download (check the thread!) both the original crunchy streams on top of the Blu-ray, but also the soundtrack I made? Wanna read the translated program? The interview with Ikuhara and Yoshitani? Wanna see all the bromides? Yep, like last time I even collected the Twitter behind the scenes images.

Once again a massive undertaking both originally and in pulling together the script, which again, I did live on the subtitles, so I never actually made a script I could just copy and paste to show y'all! Well! Here it is!

Also, yes, I know you wanna see the banger's lyrics:

Two Worlds a Mirror Apart 鏡分ケる二つノ世界​ Kagami Wakeru Futatsu no Sekai​

KOZUE: With your sword, cleave into two…​ その剣により鋭く区切られた​ Sono ken ni yori surudoku kugirareta​ MIKI: ...the light and the dark reflected within the mirror...​ 鏡の中の光と闇​ Kagami no naka no hikari to yami​ SHIORI: The chosen live on, embraced by the light...​ 選ばれた者は光に包まれた生者​ Erabareta mono ha hikari ni tsutsumareta seija​ JURI: …while the rest are left for dead in the dark.​ 選バレヌ者ハ闇ノ中ノ死者 ​ Erabarenu mono ha yami no Naka no shisha​ WAKABA: The one you seek in the mirror...​ 鏡の中を探しても​ Kagami no naka wo sagashite mo ​ WAKABA: ...will never find a path to you...​ あの人は帰ってこない​ ano hito ha kaettekonai​ SAIONJI: ...so smash it...​ 鏡ヲ壊シテ​ Kagami wo kowashite​ SAIONJI: ...and make your own way to their side.​ アノ人ノモトへ​ ano hito no moto e​ NANAMI: You are illuminated...​ 光君は確かに僕の​ Hikaru kimi ha tashika ni boku no​ NANAMI: ...standing right here before me.​ 前に存在している​ Mae ni sonzai shiteiru​ EVERYONE: This is no illusion, so grasp my hand now...​ 幻想じやない僕の手を握っていて​ Gensou janai boku no te wo nigitteite​ EVERYONE: ...and let my warmth make its way to you.​ 触れた手のぬくもりが証明している​ Fureta te no nukumori ga shoumei shiteiru​ EVERYONE: Please, never let me go.​ ��えだからもうこの手を離さないで​ Nēdakara mou kono te wo hanasanaide​

MAMIYA: You are shrouded by an enveloping darkness...​ すぐ目の前の闇が君を包み込んで​ Sugu me no mae no yami ga kimi wo tsutsumikonde​ MIKAGE: ...feeling as though you'll vanish into nothing...​ 消してしまう気がするから​ Kesshite shimau ki ga suru kara​ AKIO: ...consumed by the light...​ スグ目ノ前ノ光ノ​ Sugu me no mae no hikari no​ AKIO: ...that has reached out to touch you.​ 君ヲ包モウトシテモ​ Kimi wo tsutsumou to shite mo​ EVERYONE: Hold on, and don't lose heart...​ 決シテシマエナイ心ニ​ Kesshite shimaenai kokoro ni​ ANTHY: Though in darkness, I know...​ 闇ノ僕ハ確カニ​ Yami no boku ha tashika ni ​ ANTHY: ...you're standing here before me.​ 君ノ前ニ存在シテルケド​ Kimi no mae ni sonzai shiteru kedo​ UTENA: None of this is real, so grasp my hand now…​ 現実ジャナイ僕ノ手ヲ握ッテミテ​ Genjitsu janai boku no te wo nigitteite​ EVERYONE: ...and never forget...​ 触レタ手ノ温モリハ​ fureta te no nukumori ha​ EVERYONE: ...my warmth will make its way to you.​ 忘レテイナイ​ wasureteinai​ EVERYONE: Please, never let me go.​ ネェダケドモウコノ手ニ触レラレナイ​ Nē dakedo mou ko no te ni furerarenai​ EVERYONE: These are two worlds, a mirror apart.​ 鏡分ケる二つノ世界​ Kagami wakeru futatsu no sekai​

​(Thanks to Nagumo and cowtown for help with the romanization!)

[lilghostiequinni]

Mutual Fans

Main Masterlist Lando Masterlist

Pairing: Moto GP racer!female reader x Lando Norris

Warnings: Fluffy,

Summary: You were a fan of him, and he was a fan of you, but you weren't friends and knew next to nothing about the other.

Requested: NO / yes

You started your career in the Moto GP in 2018 with Ducatti, moving to Yamaha in 2022. You won an entire season in 2021, the second time was 2023.

You made history by being the first woman to compete in a full season of MotoGP.

You only meet Lando one time, at least that the fans knew of.

The two of you met when Lando attended one of the races for MotoGP in 2022.

The second time you met was when McLaren, when Oscar invited you to a Grand Prix in 2023 because you were his best friend from a young age.

Having karted with Oscar and Logan in the early days.

After the first Grand Prix, you went to many more after that, in the company of Oscar or Lando.

You met Max Fetwell a few times, too, that first time in at the MotoGP.

It was around the Singapore Grand Prix of 2023 that Lando mucked up the courage to ask you out on a date, which turned into many, and before winter break was over, you had a new boyfriend.

There were many instances where the two of you talked about the other in interviews, but fans just thought it was the two of you being fans of each other, nothing more than that.

When your relationship was revealed in 2025 after Lando's first win in Silverstone, after the dew wins he had since his Miami win in 2024.

Your fans were rather confused about your relationship, having never conceived that the two of you were dating.

But it all started with mutual fangirling but evolved into more.

A/N: I like this one. I may do a longer part 2 later.

Tags: @poppyflower-22 @samantha-chicago @barcelonaloverf1life @tallrock35 @ellen3101 @llando4norris @hellothere9597

If you want to be removed from a tag list, let me know so I don't keep tagging you. If you are striked through, I don't know if you want to be tagged, but just let me know if you want me to continue or stop

[skyflyinginaction]

Clamp Art Style Analysis: Part 1: Creation Process and Materials

Introduction

Clamp is a manga artist team of four women. They are a prominent distinguished manga artist team known in the West and in China. The thing they are most recognized for is their highly detailed art style many people may have known and many may not. They did several manga you might have known such as Card Captor Sakura, Chobits, and even Tsubasa.

Clamp is one of the artists whose art style I highly admire and want to imitate in my art. I created this post so I can understand and take apart their art style and better understand it. It is going to be difficult since there are four people with different specialties and years of professional experience in their belt. They are constantly changing and adapting to every genre. 

I am going to analyze Clamps’ art style in this post and this may take a while to crack due to how extensive the Clamp style is. I am going to pile up everything and explain this in this post which is going to take time to explain in this post. I am going to take apart interviews from different sources while explaining their art style in this post.  

I am going to examine their art style and the materials they use. I am going to split into sections talking about the art style and what they use for materials for the manga.

To understand the art style and how it is defined I need to understand Clamp themselves since they created an entirely individual style that is going to talk about other things, not about the art style there is going to be so much I might miss while explaining in this post. I could be wrong while explaining this is an analysis I am going to take my crack at understanding the art style. 

Influences

Though the members of Clamp are largely self-taught they are inspired by many figures that influence their art. The list consists of Reiji Matsumoto, Osamu Tezuka, Go Nagai, Hirohiko Araki, and Moto Hagio. The other works that influenced Clamp are animated cartoons and Galaxy Express 999. Reiji Matsumoto and Osamu Tezuka are major influences in their works Clamp used Osamu Tetsuka’s star system in their works which is seen often in the crossing over of characters from their series into their other works. You can see this prevalently in Tsubasa, X, and Kobato where you would find characters from the different series crossover.

Nekoi's favorite cartoonist was Moto Hagio in high school and Mokona mimics pictures by Reiji Matsumoto when she was younger. 

While working on manga Nekoi started copying Shinji Wada and Rumiko Takahashi, in which She copied her art in drawing legs. She drew them thick and big. She liked the legs Rumiko Takahashi drew since they seemed long until short feet. She took them to make them more delicate and feminine. Clamp used other artists to help them while drawing. 

Go Negai influenced the creation of X, taking inspiration from his work of Devil Man featuring two main male characters, and the murder of the lead's sweetheart triggers the apocalypse. Devil Man is used in creating x The extreme levels of violence depicted in X came from Go Negai's works. Clamp knows about Devil Man. They did a doujinshi of Devil Man in their works as doujinshi artists a while back and even had a doujinshi about the lead character's relationship in their works. 

X was inspired by Go Nagai the heavy violence in x inspired from Go Nageis works and the assembled cast of x is inspired by Kyokutei Bakin's Nansō Satomi Hakkenden, The fight sequences of x were inspired by the manga Dragon Ball specifically Akira Toriyama's use of white backgrounds.

Mokona influences are H.R Giger and gérard di-maccio are used  for the RG veda backgrounds.

Mokona likes Alphonse Mucha who is a considerable influence in drawing XXXHolic art.

Hirohiko Araki is another influence of Clamp with JoJo's Bizarre Adventure fan manga back when they drew doujinshi and starred in Clamp in wonderland animation with Jojo animated.

They drew a doujinshi on Jojo a while back starring Josuke and Kakyon and even they drew Jolynn once.

There is a lot of Kakyoin and Josuke fanart with Yaoi art drawn by these two characters.

Jojo was used in drawing wish with Kohaku and Shuichiro strongly resembling Jotaro Kujo and Noriaki Kakyoin and Kohaku's hairstyle strongly identical to Kakyoin and Shuiichiro resembling Josuke.

Members

Nanase Ohkawa     

The main leader of the group, the main writer of the scenario, is in charge of the original story, script, and design. The other three artists are Mokona, Nekoi, and Satsuki, who are in charge of the art.

Mokona 

Mokona is the artist and designer in charge of drawing. Mokona is in charge of sketching out the construction of the characters by hand. Mokona draws the storyboards and sketches out the characters. Mokona is responsible for drawing female characters.

Tsubaki Nekoi    

Nekoi is in charge of character design, background scenery, finishing touches, and charge of the foundation of the art in their works. Her booth has been painted for design and screens for finishing touches.Nekoi likes to doodle and throw pages. Nekoi is in charge of drawing male characters.

Satsuki Igarashi

Satsuki Igarashi is in charge of design and drawing and is in charge of the finishing touches. She is in charge of designing the cover of the book itself.

Bio 

Three members of Clamp were classmates in high school who took art-focused classes in school; none of them studied at school for manga. Nekoi tried using colored pencils and opaque watercolor in school when she was young. Satsuki and Nekoi were in middle school when they first started drawing manga. Mokona was in an art club in middle school. In high school, she started drawing manga with proper frames and dialogues. Mokona, Nekoi, and Igarashi studied art in high school Nekoi, Mokona, and Igarashi met in high school as a kid She found a friend who loved manga, Satsuki went to an art-type highschool and Mokona high school and college had art-focused classes, Igarashi was at an art department in highschool then to computer graphics vocational school. Clamp started as doujinshi artists who first published doujinshi fanzines Back then they had more people it went down to four in the year of their commercial debut.

The group never worked as assistants with most of the members being self-taught with Tsubaki and Nekoi being more self-taught.  

They never used assistants to help them with their work since they wouldn’t be able to understand the years of jargon they created among themselves They created work for years without any help from assistants since assistants would slow them down and wouldn’t understand when we would tell them to do the same thing as before disrupting the workflow they created for work.

For inspiration, Ohkawa gets her ideas from dreams or inspiration based on events she hears or sees on the news a lot of times its deadlines. Ohkawa doesn’t always take notes and she usually loses ideas.

Clamp’s daily work hours while working on manga is in the morning, get in the studio at about 10 or 11 in the morning and in the afternoon they eat dinner at 6 in the evening then stop working at midnight. 

The members share a single workspace and are separated into three booths while they work.

There are four separate studios and the member's workspace accommodates all four of them. Clamp work requires complete perfection with members having their own space where they have to work to create one of their works 

The art of Clamp is lush layered and amazingly detailed. It has a high-quality art style with extensive details. Due to this, it's almost difficult to adapt to animation.

Each of Clamp’s titles has a different art style depending on the genre or magazine they are running in; their art styles change to suit the work and magazine the manga will appear in. The art style of the work is based on Ohkawa’s decision in charge of the art direction of the work. The art styles and pictures have changed but not their methods.

There is a lot to talk about the Clamp art style which may not be enough to explain one segment

Creation process 

Clamp's work process is similar to an animation production; they work like a small animation studio. if you look closely at the work process for creating works it's more like an animation with the director, playwright, character designer, painter, background artist, creator, and publicist treating the manga or story like a script for a movie or anime, the creative process for creating manga is similar to that of animation and movies.

Ohkawa is the storyteller and writes the scripts other three draw drafts and original design, Mokona is the chief character designer, and Tsubaki and Nekoi work for the background Sometimes they they take turns doing different jobs

Ohkawa writes then it goes to Mokona who draws out the outline of the storyboard and sketches the characters

They would normally go to Nekoi for the finishing touches Igarashi and Nekoi work on the final touches the team may shuffle roles. Clamp members do get outside work with computer graphics. For drawing sometimes the members do character backgrounds or may draw everything depending on the story. They have a work where one person designs the character and another draws the actual story. They make storyboards and start drawing. Sometimes they decide who is going to make storyboards and then start drawing.  The art is drawn by Satsuki, Mokona, and Nekoi, Nekoi draws the rough draft and thinks about how the story is going forward to next month's script. The designs are handled by Satsuki and Mokona. Satsuki worked on the design for the cover page. In the beginning, they believed that everything in the comic from front to back was important to the story. They take turns completing the rough sketch depending on the story. They divide the story into frames; they mostly draw it on art board paper after they create characters and scripts. Ohkawa explains what in each frame props and the characters in they have how they turn around and include emotions in the panel. Ohkawa and Igarashi never drew manga with split frames. They Look like frames from a movie 

When Ohkawa comes up with stories Ohkawa drafts the outline of the story and the story setting The ending for each story is determined from the last scene back to the first scene and the end last and deciding the thing and heading into this way makes way for change drags the reader along for the story Ohkawa drafts the outline the other three members formulate characters designs by creating character profile sheets to avoid confusion. Ohkawas style of writing is considered a color woodblock print in the way it conveys and portrays things the manga is close to picture books and elimination of everything unneeded. Ohkawa thinks about the setting of where the story takes place and Ohkawa constructs a visual image at least in their head then splits up panels in their manga. for the writing process, they come up with the story Ohkawa gets together to discuss the story with the members about the purpose of the story and the main characters when writing and drawing After the members get well used to the story they write it down when creating a story for a weekly magazine they first decide on a rough story from beginning to end Ohkawa works backward from the ending for the story to have an ending like this the members don’t always know how the story develops. Ohkawa's style of writing for stories is not telling anyone the progression of the storyline before it happens reason for that is that when the members of Clamp learn of Hokuto's death one of the members couldn’t draw Hokuto's smile the same way this is how badly shaken they were since that the way Ohkawa created her stories changed for most of the works it was until Chobits she could tell them again. Ohkawa kept using memos in the beginning when she wrote the stories where she kept track of the flow of the story.

Before they start drawing they decide the flow of the story up until the end as well as the materials used for color and monochromatic drawing and the direction of the illustration. The members consider the art style during the planning stage and the materials for the manga, for materials Clamp uses color samplers In the order of how they draw. They draw them the same size as manuscripts, they draw rough sketches, and the size of the manuscript is b4 size and genkou size. They seldom use computers to create manga but only to color pictures, sometimes Clamp uses the scanning method when they draw or draw the rough draft using tablets. They don’t use references for their designs except at one time for Ohkawa she drew inspiration from a perfume and drink package she gathered together she drew more influence from the business art and art from Alan Chai's design. 

The amount of lines and the thickness of the lines in the manga depends on the work. When you look at the manga, there are a lot of lines in the characters, Clamps can make the lines, and the thickness of the lines depends on the nature of their work from the thicker lines shows how serious and heavy the story thicker lines match the nature of their work that fits with a heavy theme like works like Tokyo Babylon, which have a heavy atmosphere. Mokona draws with thicker lines and uses pens with strong pressure when drawing. Clamps drawing methods changed with Tsubasa and xxxholic.

In the process of launching a serialization first is to decide on the major storyline work out the details of the characters later and consider the number of chapters needed to tell a story, second Ohkawa has a meeting with Mokona and Nekoi to decide on the design of the main characters Ohkawa asks for designs once they are finished they go over one more time.  They go about creating manga and have two processes,  one creating a manga based on the request from a publisher The second Clamp decides on the story first and then thinks about the magazine to write it for. Clamp comes up with an outline for the story First after they create the outline they discuss who's going to draw pictures or if they all draw together. They turn the project into a movie telling how a story goes and who the main characters are among themselves. They talk about the rough story and how they should do it when they bring a story to the publisher, attach the rough story and characters, attach characters' settings to them and draw the appearance in the manga to the publisher. Then after they show the work to the editor if the editor thinks it's okay they start the story. After receiving approval from an editor, Ohkawa assigns roles to each group member and then chooses the visual styles depending on the factors such as the complexity of the story and chosen art style the artwork depends on the genre and magazine of the story. Ohkawa provides a rough draft for each chapter with things such as dialogue panel size props and movement and characters' emotions. Storyboarding takes 12 hours while the script takes 8 hours to write. To Mokona from rough draft to inking 10 pages per day, the average Mokona puts into how many pages of black and white manuscript draws in a day the number of pages they draw in a month to finish one installment For example if they're in two monthly publications like Tsubasa and xxxholic one is about 19 or 20 pages other takes one day to finish 6 pages for the foundations for the fishing touches and inking takes a couple of days every 2 weeks when it comes to two weekly series its 120 and 130 pages a week. xxxholic takes two days and x took four days 

Ohkawa will specify the proper production for the story and character. After the story, they will choose a person to perform the character design. Clamp switches up who works on character design and the drawing. Igarashi and Ohkawa do it together. One of them directs the work for design and the person in charge of the drawing for that work will draw a rough sketch which is discussed. Mokona is one of the concept artists When the scenario is specified in detail, Mokona listens to the basic story and consults the original concept with Ohkawa Mokona will show what she designed on the spot of the drafting and period.  Mokona and Clamp often decide on the design first, then Mokona draws the illustration from format, paper, and photoshopping specifications to color specification. Mokona does pencil drawing first then ink and color it the pencil stage first so Mokona can fix errors in the pencil stage. Ohkawa as the main scriptwriter Ohkawa determines the story and setting and tells the members about it and the rest give their thoughts on it Ohkawa maps out the location, ideas, and character design Ohkawa gives the character's figures hairstyles, and clothes she envisions to the designers or sometimes Ohkawa draws them herself only sketches the rest get the art close to Ohkawa original version. Ohakwa doesn’t talk about the characters until it's time to create their visual design, Ohkawa decides the design of the character and the group visualizes it She explains their appearance she sometimes brings sketches instead of explaining Ohkawa decides the characters they have long or short hair their style of clothes and complexity. Clamp discusses together and thinks about how to make characters, Ohkawa makes requests and discusses them with the other three Ohkawa gives concrete and specific thoughts on what she wants the main characters to be. Ohkawa is the one who decides on the details of the characters and Clamp crafts their characters. They explain the story in the works that include the drawing of the clothes of what the character wears. Ohkawa takes all the info she gathered and has them design the characters based on the descriptions she gave like body build, hair length, and small details, next decide who is going to design the characters either Nekoi or Mokona design them characters and pick one of them then make a character setting chart and decide on the character's height. After the story they choose a person to perform character design. When that is happening, they use specific proper proportions for the story and character. They come up with a story through a character design phase Clamp and choose different styles and proportions for the characters. When it comes to designing characters they determine the head and body ratios since the person drawing can change the proportions in their sketches without knowing.  They reference the proportions of the characters in case the person drawing it gets it wrong. Igarashi and Ohkawa consult each other and ask for revisions so that the proportions don’t shift, so it can come in tandem when working for 4 people. Mokona had difficulties drawing Yuko's proportions; she considered drawing them constantly a nightmare. Mokona found it reassuring to have partners who can check your work. Sometimes they decide on the colors to get the approval of the publisher to work on the storyboard and then agree on the birthday and height of the characters. The height is important because it's for drawing proportions that are made to keep consistency when drawing characters. The character designs look like character sheets like the ones you would see in anime. When they first set out to draw the members consulted such things as whether or not thin lines mesh well in the manga. what color materials they would be using the members play it by ear as they go along when they draw. Before drawing the portraits of the characters, Nekoi takes special care of the characters by differentiating them with their hairstyles. 

For creating the clothes for the characters, Clamp dresses their character in stuff based on their own or things their acquaintances wear. Clamp reads a lot of informational magazines and fashion magazines on a personal basis which serves as inspiration for characters. Some of the clothes and other items that characters in Clamp wear are inspired by real-life pieces but most of them are done initially by Mokona.

Once the main characters are completed, they decide on the detailed settings for those characters,  The members decide on each character's birthday and height. The height is used for doing the proportions of the characters. for the character settings the group goes into detail about the characters like what food they eat, special skills, how and when they do things, how they grew up, when they were young, their hobbies, the type of house they live in whether its Japanese or western style, if they are sleeping wearing pajamas or negligees and whether they like sweets or not; for example if a character is eating sweets it means that a character grew up in an environment where sweets can be easily eaten and if a character has long hair it can be tied or untied these details reference the characters way of life and polices the reason Clamp focuses on what a character likes to eat is because what a person eats says a lot about a character in personality. There's a lot of thought that goes into making character settings. It's mostly to advance writing their characters or fleshing them out as individuals. The character settings are important when writing the characters in the story These details are important for them to write for the characters the character profile is used so they won’t get confused when writing a character for the story to keep the writing of the character to remain consistent throughout the story. 

Materials 

When drawing manga and illustrations the group often determines the materials they use to draw during the meetings 

Once they set out drawing they first consult things like whether or not thin lines and colors. Clamp used different techniques, art materials, and paper when they did manga and color illustrations Clamp used different materials at their disposal. For drawing Rayearth, the materials they use to draw manga are used include other works as well. The heavy colors are used to suit the tone of the story. This goes to show that you can change the impression by changing the pen you use and the paper used. 

You can change the impression based on the paper you use. The paper makes a great first impression on the manga. Paper is not the only thing that changes the impression of the manga they draw, also the materials they use are used to change the impression. 

Clamp uses different paper sizes for each work, the manga paper is sorted for each one of the members to use. Clamp has strong drawing pressure for their strong drawing pressure they chose thick paper.  They use paper made by Daieidou printing for manga drawings because the members have a strong drawing pressure so they chose a thick paper that's three times thicker than manga paper. For the paper that the members use for illustrations Igarashi, Nekoi, and Mokona use Watson paper, BB Kent back of manga paper of copy paper. Both Ohkawa and Igarashi like acid-free paper, they love the sandy texture and don't like smooth art-coated paper. The reason for that is that if the paper is too smooth the texture will not be the same. Clamp uses many materials for works such as Copic markers and alcohol-based products, They use Kaimei Indian ink, and for color inks, they use Holbein and Holbein special black The screentone they use Brans that Clamp uses is  I.C. 's and Letraset.

When they first used computer equipment,  they were instructed by Takeshi Okazaki and Katsuya Terada. satsuki was into photoshop so Takeshi Yamazaki gave satsuki lessons in photoshop.  

For the materials that Clamp used in their past works, rg veda used color inks, aeroflash, Liquitex, and modeling paste, Rayearth used Copic markers, Mokona used color inks for Mask of 20 faces, Tokyo Babylon used color tones and angelic layer had them use thick fountain pen like liner markers for drawing the manga.

Mokona’s pen uses a Kabura and a Marupen. Depending on the weather she draws a line to see which is better. Her favorite pens are Zebras Maru pen and Kabura pen nibs. with lnks, her favorite is Kaimei Indian Ink and Holbein’s Grey or Nouvel’s Burnt Sienna. What she used to draw backgrounds is Pigma 0.05, Mokona has strong drawing pressure. The G pen is too soft for her. She tried using one but it is hard to adjust and prefers using a harder pen. She uses a magic marker with a pigment ink called Prokey she used to draw letters on paper and uses Pentels water-resistant brush pens for solid areas like hair. She uses a powder board for paper with larger pieces and Baron Kent paper stretched with water. For RG Veda backgrounds Mokona used a lot of airbrush techniques. Mokona draws with thicker lines, and her drawings have been drawn with thicker lines. In the beginning, like in the third volume of Tokyo Babylon, the character's faces are angular and have thicker lines which show that her art is changing. Syaoran was Mokona’s favorite character to draw in Tsubasa.

Nekoi uses different nibs for the maru pen and g pen; she uses the Kabura pen for concentrated and close straight lines, also Pigma 0.5 for backgrounds.

For paper Nekoi uses whatever paper they have at hand to the back of wrapping paper bits of cardboard that have fallen around the back of cosmetics box envelopes from the publisher, the wrapping paper from a cup of tea that is Japanese style. She uses an eraser to reduce the tones in the screentone and sandpaper to reduce the large areas of tone she uses. A fine grit sandpaper will decrease nicely but not allow for fine adjustment which she had to fix with an eraser later. Nekoi loved experimenting with new painting materials; she especially loved painting in color.

Step to Step in Creating Manga

When it comes to drawing manga there are steps taken to create manga. these are the materials they use for drawing manga The list of materials and things they use in the steps to create manga are listed as this

1.) plastic eraser, mechanical pencil 0.5 HB

2.) Pigma 0.5, magic marker

3.) brush pen

4.) screen tone, tone cutters round sand eraser 

5.) pen white, liquid paper ink, Mython

lastly, for writing the script, they use a pc

For the steps they use to create manga Rayearth I think it might be the same steps they use to draw other manga that come after it might be the same steps they did for Tsubasa,xxxholic, and other manga that come after it, and the materials they use. I bet it's the same materials used for Tsubasa, Card Captor Sakura and xxxholic.

1.) The plot is written by Ohkawa on a personal computer with manuscript paper, For the rough they draw frames with a pencil and roughly insert characters and other elements, they draw the rough while paying attention to the composition and balance the draw the panel as to what you want to show most when you are doing a specific scene. The rough is a lot of lines and its way is less detailed. The rough is used for the placement to know the place of things to ink. You can see the same rough stage with Tsubasa and xxxholic. 

Clamp pays attention to the distribution of lines in the panels, the reason why Clamp pays attention to the number of lines is because it's a manga and they are going to ink over and over again. The reason they pay attention to the number of lines in the rough is to calculate how much you ink while you draw. the number of lines you use while you ink is important because you are going to use it over again

the rough is drawn with a pencil, they used a regular pencil for the rough rather than a mechanical pencil since the mechanical pencil has fine lines 

2.)  Next is the sketching phase, in the sketching phase the characters are drawn with a mechanical pencil they check the drawing by looking through the rough manuscript and back. Once the sketch is finished the member will fix it until they are satisfied The background is only included briefly in the sketch.

3.)  The inking stages for the steps of Magic Knight Rayearth are inked mainly using a Pigma 0.05 or Kaimuji marker or brush. When Mokona was drawing Rayearth Mokona had strong drawing pressure so her lines became thicker She changed pens as soon as she noticed it her strong drawing pressure caused Mokonas tip of her pen to break quickly they often used 4 to 5 bottles a day for inking. 

4.)  Next up the beta stage, after they are done with inking they erase and check it again After that the members add solids the tool used is a brush pen to fill in areas like hair and stuff. They use ink that is resistant to water because if it is water resistant the area will become thin when the eraser is applied. 

The steps for rough and sketch are used in their other works only the materials that are used for inking change consistently Depending on the series 

5.)  Next is the toning stage when they add screentone traditionally to a manga page, when it comes to screen tone they make sure that no more appears in the overlapped areas Clamp use a circular blade type cut when they apply screentone traditionally to a manga and small areas might be scrapped with a sand eraser scrapping the tone can change the texture of the object. They consider the effect and carefully cut it and their grain to the tone and know in which its neatly scrapped directions are not scrapped. 

In Rayearth tint and gradation tones are used, and a little gala for the screen tone of the manga. 

6.) This is the last stage of Clamp creation in drawing manga. The last stage is to express light and create glamorous images white is used for it. when applying white fluid to the image which is done by flicking the brush on the correction fluid with the rim of the container the effect changes depending on the concentration of the liquid. You can add white to the toothbrush or flick it with your finger. It changes the effect of the image. If you add fine white dilute it with water to adjust for the white. Clamp uses quirk drawing because the pen can be put on the white later.

This technique was applied in other manga like Tsubasa, Card Captor Sakura, and their other works. They used the same white ink to make a beautiful panel.  

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