#Sunday GX Magazine

[verylead-flavored-candy33]

[colorfulfoxengineer]

[fridaraph]

Jinshi, Maomao on the lead color page of the GX Sunday magazine

They are so couple.

[flamingdragonfly-whispers]

All the official Sunday GX Magazine covers thus far.

[oratokyosaigunda]

Sunday GX cover 2024年8月 issue

[skyflyinginaction]

Clamp Art Style Analysis: Series styles: Kobato

While I was writing this there was a reason I couldn’t elaborate on Kobato it was because I lacked context. I missed a lot of things on Kobato due to the lack of context. Clamp art is extensive so I predicted I may not be able to cover it in one post. This post is written based on an interview I read so I am going to explain the art in Kobato to the best of my abilities.

Kobato ran in two magazines, monthly Sunday GX magazine and new type, Sunday Gx was the first magazine from Kadokawa that published Kobato and the Newtype was the second. Both magazines had male readers whereas Newtype had a male readership and Sunday Gx was a senine magazine. In Sunday Gx, there were lots of works with many screen tones and gradients all of them had ink but had a clean print without screen tones and gradient on them had a lot of ink but had clean print without the screen tone becoming blurred clamp couldn’t cramp to 20 panels in one page for Sunday Gx. While Clamp was drawing Kobato in Newtype there were a lot of problems, clamp found drawing Kobato in Newtype tough because of the tight deadlines which caused them to end up falling behind schedule to finish it. Though Netype had a large format Clamp, it couldn't cram 10 or 20 clamps and could only draw 14 pages which didn’t allow for story progression. Clamp even said they didn’t want to read a cramped shoujo manga. 

Kobato was created while Clamp was working on Tsubasa during the time, Clamp knew Tsubasa would have a darker storyline as it progressed so Clamp wanted to depict a brighter story Clamp wanted to create a story with a cute girl as the main character and decided that the story Kobato was intended for a happy ending. 

When it came to creating the character Kobato, the editor from Sunday Gx magazine said wanted a character to become a muse of the magazine. in creating a divine character clamp had no clear image of what a goddess is since the idea of a goddess can change over time so it is hard for them to picture it. However, clamp misinterpreted the desire when in fact the editor didn’t ask Clamp to create the goddess of the magazine but to make a character that readers can fall in love with something that both girls and boys would enjoy.

Kobato may have come off as regular shojo manga but the manga seemed to be created with a much older audience in mind judged by how it ran in a senine magazine it had some properties as shojo manga sprinkled in. Kobato has a bit of realism in it and references the supernatural but there is nothing too serious going on. It was drawn to be aimed for a relaxed feel so there were no constant dramatic events and intense pursuits. Despite how real the manga can be the tone of the manga is very relaxed that was what Clamp is creating it for. 

When it came to describing the contents of the series they discussed it with their editor like with the lines of argument 

drew sketches made various changes and corrections clamp had the story ready in two to three minutes but the character designs took 20 minutes. when it came to creating character designs in Kobato, Kobato took the longest

deciding what type of hairstyle for Kobato is difficult it had a hard time they didn’t know whether to make it long or short when it came to kobato’s hairstyle clamp did not know whether to make it long or short it wasn’t a minor manner since Kobato is supposed to be the main image of the magazine. 

They wanted to draw girls with long hair as a reaction to Sakura from Tsubasa who has short hair, but long hair gave Clamp less room for variations of style but was difficult to ink all the time in manga, and in truth, Clamp can invent unreal hairstyles that would cost less to draw her hair. Clamp strived to create a hairstyle that could be reproduced in reality but clamp disliked the fact the set of the hairstyle looked unnatural. so for the hairstyle, they created a fusion of short and long hair.  

When it comes to drawing and making stories Clamp pays good attention to the details of the story they are creating clamp needs background information of the story they are working on this is seen in the way the the characters in Clamp wore different clothes each time they appeared. In Tsubasa, the main characters wear different outfits because they are traveling across different worlds so the clothes are created to reflect that. That's more groundbreaking in a sense since people change their clothes every day it feels like you're watching real people for this aspect.

For Kobato her clothing is fundamental to her concept. Kobato clothes change all the time. This aspect goes over people's heads since the characters in Clamp in different clothes are nothing new that may be something we don’t notice at first due to Clamp always their character changing their clothes. However one may ask how someone who is carrying minimal stuff carries all those clothes. This aspect causes readers to question how she got all those outfits despite the fact that she barely carries anything with her. her changing her clothes each time makes readers wonder where she is carrying her outfits despite not carrying anything due to her lifestyle

It was revealed that Kobato’s clothes changing is a result of a mysterious ability that references that Kobato is not an ordinary human, and having to reveal that ability may spoil her true identity. the reason why Clamp drew Kobato's clothes change every day is that Kobato wearing the same outfit would be a spoiler to her true identity since people don’t wear the same clothes every day and having Kobato wear the same outfit would be much of spoiler clamp keeps Kobato's true identity ambiguous Kobatos a character whose never changes but wears a different outfit

Clamp had fun designing cute hats for Kobato. Clamp struggled with whether or not Kobato leaves the hat on or takes it off when she went to sleep but ultimately decided to leave it on asleep

Clamp wanted to create a new type of heroine that they hadn’t invented until now, someone suggested that Kobato is derived from Anne of Green Gables though Kobato was not much of a reference to it was more like Mary Poppins. 

Kobato's character design is based on Mary Poppins. Both are mysterious entities, wear hats, and carry a bag and umbrella. Kobato wearing many different outfits reference to Mary Poppins’ never-ending bag the umbrella is a clever nod to Mary Poppins which is seen in the colored illustrations

that appeared in Clamp in Wonderland

and mentioned briefly in the main story Kobato is an easy call back to Mary Poppins in both character and design and her role in helping people in the stories. Kobato's design referenced Mary Poppins and Clamp had wanted some elements of Comet, a manga character from the 1960s, but Clamp gave up since it didn’t fit the profile of a clumsy character they were looking for. 

For Ioryogi’s design: His design came from a doodle Nekoi did that was seen on the official clamp website, Nekoi first drew him in clamp no Kiseki about a blue stuffed dog Ohkawa liked the idea it became the partner for Kobato they decided to use Ioryogi’s design in the manga because they needed a partner for the protagonist someone that Kobato could talk to. While they were designing Ioryogi's true form, they settled to make Ioriyogi more beast-like this is from Ohkawa who thought that beast-like characters that get into conflicts with heaven as punishment were turned into stuffed animals this is made to explain why he is stuck in a stuffed animal form that his stuffed animal form can be from how he was beast-like in his form Designing his true form took some time Ioriyogi has a wolf-like appearance. Nekoi and Mokona settled on creating animalistic elements in the designs for the rest of the characters in Kobato to draw the others the true forms as more beastlike 

Next up is Fujimoto, Fujimoto is named after Kiyokazu Fujimoto the chief of the project department of Pyrotechnist, the company that works as a clamp managing agent. This isn’t the first time that Clamp took the name of someone they know and used it to name their character in their works; they did that before as seen within the character seichiro aoki of x taken from their editor. They take the names of people that they know and use the names on their characters to put a bit of themselves in the works. Fujimoto's distinctive features in his design are his glasses and long ponytail. However, Fujimoto's ponytail is cut off at the end when he's a lawyer, a reference to a sense of having aged over the years and gives the sense that he changed to maintain the same hairstyle while also showing change made the tail longer in his lawyer outfit.

Although Clamp loved drawing glasses, they found glasses in terms of drawing in manga hard. The lens is difficult to handle when drawing because it affects the expressions in the eyes of the characters Sayaka was drawn with glasses because Clamp wanted a female character with glasses.

Nekoi created the character designs from Wish; it was Nekoi who originally designed the characters for Wish and had a hand in designing and creating Suisho’s clothes Suishou’s clothes look similar to what the angels in Wish wore.

Mokona created the world for Kobato. Mokona found it challenging to create a new world in Kobato and decide how to design it. 

Kobato Reference to other works that crossed over like Wish but are more casual compared to Tsubasa and Holics tightly connected works

As I pointed out before in Kobato’s character design section, drawing long hair is challenging due to the amount of lines to ink, Clamp wanted to create characters with long hair only to change midway when they realized the difficulty. clamp found drawing long hair to be challenging due to inking it and the number of lines that go with long hair

Clamp aimed to create an atmosphere that was close to shoujo manga. Kobato uses thin lines in the manga similar to the lines of card captor Sakura and less ink which gave it a similar shojo manga appearance. 

Clamp tried to not make the panels too dark and didn’t have many characters with dark hair having many characters with dark hair darkened the visuals. They were careful about it. This Clamp uses less toning in the pages which has a lighter feel similar to how Clamp aimed for something bright and light and the paneling flows well is to make it as relaxed so they make it bright and light

The colors that are used for the illustrations had a soft watercolor touch they didn’t paint too heavily with Kobato illustrations so they did it by not layering too much paint and the brush strokes could remain visible which causes it to go beyond the edges.

So this is my post on Kobato art style analysis. This is something I missed and tried to explain but I could botch explain the artstyle in this post but I’m glad I expanded on Kobato's section.

[japan-dramangastery]

小学館的漫畫雜誌01（少年向）

小学館的开篇，我们来聊少年向的部分。

週刊少年サンデー（周刊少年Sunday）

週刊少年サンデーS（周刊Sunday S）

ゲッサン （月刊少年Sunday）

月刊サンデーGX （月刊Sunday GENE-X）

サンデーうぇぶり

週刊少年サンデー（周刊少年Sunday）

发行时间：1959年3月17日（1959年4月5日号） -

人群向：少年

发行日：每周三（逢周三节日，改周二）

增刊：週刊少年サンデーS （Sunday S）

代表作：小鬼Q太郎（オバケのQ太郎）、泰罗·奥特曼 (ウルトラマンタロウ)、Touch（タッチ）、H2、KATSU!、福星小子（うる星やつら）、乱马1/2（らんま1/2）、犬夜叉、���炎转校生 (炎の転校生)、究極超人あ〜る、双子鹰（ふたり鷹）、机动警察 (機動警察パトレイバー)、城市风云儿（YAIBA）、名侦探柯南（名探偵コナン）、電波教師、弥留之国的爱丽丝(今際の国のアリス)、我是大哥大（今日から俺は!!）等等。

『Sunday』的名字是初代編集長豊田きいち想到的，寓意是『阅读这本杂志让你感觉今天是周日』。由于项目启动时的核心人员是学年杂志的编辑，因此在推出前就被宣传为“小学馆的新儿童杂志”。轻松愉快的氛围是该杂志精神的主要组成部分。该杂志的倾向于在恋爱喜剧和恋爱漫画。这种倾向在中长期连载的作品中尤其强烈。另外，即使不是该类型的品，也有很多情节强烈暗示爱情或爱情喜剧元素。

相比于『周刊少年Magazine』强烈的编辑部的强势主导风格与『周刊少年Jump』、『周刊少年Champion』过于注重读者人气调查的数据结果，『周刊少年Sunday』在这方面更加宽松。Sunday的漫画家，一旦和编辑部协商好漫画的风格，相对不容易受到编辑部或者数据的影响，更容易长期连载。因此，相较之下作品在连载中大幅度修改风格的情况比较少。

杂志的知名漫画家藤子不二雄A、赤塚不二夫、横山光輝，小沢さとる，永井豪、石川賢、高橋留美子、安达充（あだち充）、島本和彦、ゆうきまさみ、新谷かおる、青山剛昌等等。

週刊少年サンデーS（周刊Sunday S）

发行时间：1978年8月号 -

人群向：少年

发行日：未知

代表作：ナイン、さすがの猿飛、ファントム無頼、鬼切丸、キャットルーキー等。

是一个主要注重培养新人作家的地方，新晋无名作家以发表一次性作品或短期连载作品作为进入杂志的敲门砖，以不熟悉每周连载的作家为主，直到2000年左右，还有原创的长期连载作品和读者角。此外，活跃在该杂志上的作家的一次性和短期连载也经常发表。有人气高的作品转到本刊（『週刊少年サンデー』）上连载的情况，反之人气低被转移到该杂志的也有。像弥留之国的爱丽丝(今際の国のアリス)、我是大哥大（今日から俺は!!）、健太やります!、蟲奉行（ムシブギョー）等等作品最初都是在本杂志连载，人气高后转到本刊上。

变迁

发行了超过20年以上的月刊，期间有连载作品。不过从2004年GOLDEN WEEK増刊到2009年NEW YEAR増刊改成了双月刊，不再刊登连载漫画，全都是一次性作品。直到2009年4月増刊才恢复为月刊，再度收录连载作品，同时在网络『クラブサンデー』（Club Sunday）上同时连载。2012年3月号开始，名称变为『週刊少年サンデーS』（スーパー）（多了一个super），独自连载的作品增加，网络平台连载作品减少。

从2016年左右开始，该杂志开始转变为一本带有浓郁《名侦探柯南》味道的杂志，几乎每期都会定期举办与《名侦探柯南》相关的专题和为大家服务的杂志，数量也越来越多。售出的商品开始增加。 2018年，由于《名侦探柯南》中的角色之一安室透的走红，该书的发行量开始迅速上升。此外，网络上同时连载的数量又开始增加。

2019 年 1 月号再次更新。尽管该杂志的名称徽标已更改且页数有所减少，但现在每期都包含一个名为“『サンデーmini』（Sunday Mini”）的单独增刊，其中包含新作者的多篇短篇小说。

ゲッサン（月刊少年Sunday/GET THE SUN!）

发行时间：2009年5月12日（同年6月号） -

人群向：少年、初高中生为主

发行日：毎月12日

增刊：ゲッサンmini（2013年4月号 - 2018年4月号）

代表作：Q&A (漫畫) (QあんどA)、信長協奏曲、MIX、放課後さいころ倶楽部、からかい上手の高木さん、摔角女王传说 (ここが噂のエル・パラシオ)、アサギロ 〜浅葱狼〜、純愛重金屬 (ハレルヤオーバードライブ!)等。

在Sunday系列杂志中，『ゲッサン』是一家特别注重培养新人的杂志，获得「GET THE SUN 新人賞」月例賞的新人作家的一次性和连载作品会被杂志积极出版。2016年7月13日开始发布电子版杂志。

月刊サンデーGX （月刊Sunday GENE-X）

发行时间：2000年7月19日（2000年8月号） -

人群向：少年

发行日：毎月19日

代表作：翼神传说 (ラーゼフォン)、落语天女 (落語天女おゆい)、REC、黑礁 (Black Lagoon)、贫穷姐妹物语（貧乏姉妹物語）、神样DOLLS (神様ドォルズ)、军火女王 (ヨルムンガンド)等等。

2000年7月19日（同年8月号）创刊，与集英社的『ウルトラジャンプ』（Ultra Jump）、講談社的『月刊マガジンZ』、秋田書店的『チャンピオンRED』、少年画報社的『ヤングキングアワーズ』（Young King Hour）分类上都属于混合媒体类的月刊漫画杂志。

与小学馆出版的其他Sunday系列杂志相比，它经常聘用没有太多连载经验，在其他杂志或其他公司出道的作家。杂志的大部分内容都是漫画作品，关于凹版偶像和电影、电视、动漫等一般爱好的文章很少，虽然大作停刊或停刊的情况很多（这是混合媒体漫画杂志的宿命）但很少有未经宣布的停刊（稿件掉落）或未完成稿件的出版（而这种情况在其他公司的类似杂志上经常看到）。

サンデーうぇぶり（Sunday Webry）

网站地址：https://www.sunday-webry.com/

代表作：流血女神伝、Sexiled：我的性别歧视党领袖把我踢出去了，所以我和神话女巫合作！（女だから、とパーティを追放されたので伝説の魔女と最強タッグを組みました）等。

2016年开始，小学館配信的漫画网站，同时提供Android iOS的应用下载。由『週刊少年サンデー』『ゲッサン』『月刊サンデーGX』三家杂志联合运营的免费漫画配信网站。出版这三本杂志、新作家的连载作品以及过去流行作品的重印。

连载的作品包括原创漫画、『週刊少年サンデー』连载的全部作品、『ゲッサン』『サンデーGX』『週刊少年サンデーS』除了部分连载作品的后续外，还对过去在这些杂志上连载过的一些作品进行了重印连载。

（少年向完）

[ljaesch]

Vampeerz Manga to End in April 2023

Manga author AKILI has announced on their official Twitter account that their Vampeerz manga will end in its 46th chapter. The 46th and final chapter will be published in Shogakukan’s Monthly Sunday GX magazine on April 19, 2023. The manga is described as: Ichika’s life has taken a sudden turn. Her grandmother has passed away, so as family and friends come from far and wide to pay their respects,…

[artbookisland]

The new Sunday-GX features Black Lagoon on its cover!

[hotwaterandmilk]

Series: Black Lagoon Artist: Hiroe Rei Publication: Sunday GX Magazine (08/2021) Details: B5 Clear File featuring Eda Source: Scanned from personal collection

[kaiowut99]

Yu-Gi-Oh! Duel Monsters GX Episodes 65 and 66 Subbed (Finalized)

(Check out my Subbed!GX Stream Masterpost!)

Hell Kaiser Ryou! Chimeratech Overdragon

Since his defeat to Ed in the Pro Leagues, the life in Kaiser Ryou has faded.  But at the invitation of a suspicious promoter, he participates in an underground duel--duels in which, crucially, one risks their life to treat their savage audience to a show.  As Acidic Last Machine Virus causes his Machine-Types like Cyber Dragon to rust, the Kaiser is not only cut off from summoning any Monsters, but it causes him to take damage.  With each drop in his LP, an electric current flows through his body, exciting the spectators...

Judai’s First Dream Duel!

Lost in the forest, Judai’s consciousness starts to fade from hunger, causing him to reminisce about his duels thus far--taking down Instructor Chronos’s Ancient Gear Golem with Flame Wingman during his Entrance Exam, battling the then-Blue elite Manjoume and his V-to-Z Dragon Catapult Cannon shortly after his enrollment, battling Misawa’s seventh deck with the right to represent the Academia on the line, and his first loss in the face of Kaiser Ryou’s Cyber End Dragon...

~~~~~~~~~~~~~~~~~~~~~~

*crashes onto your TL months late with non-corporate coffee*

And these two are finally up and finalized! Sorry for the wait, if you were looking forward to ‘em--as I mentioned in my post on Sunday, they were pushed back a bit while I did one final lookover on 1-64′s scripts and hardsubs so I could actually call them “finalized.” I’d started to get them out of the way while waiting for some potential editing help, then just decided to finish it after scrapping the last little thing I hoped to work on (I planned to break briefly after 66 to do these re-finalizations anyway, but the timing happened to work out).  More details there.

But leaving that aside, here we have a pretty popular episode in Hell Kaiser Ryou’s debut, as he’s pushed to the brink by Mad Dog Inukai after Monkey Monkey Mountain Saruyama invites him to his first underground duel. They do a really good job of portraying Ryou as having lost his mojo post-Ed, showing a realistic view of what the big leagues in sports are like when that happens to you and you lose out on sponsorships/etc, and so when he gets cornered and Saruyama drills into him how he never once thought of winning since that duel, wanting to just stick with his respectful dueling, a spark lights up in him and... well, RIP Mad Dog. (Also, s/o to Takeshi Maeda for really selling Ryou’s shift in mindset by the end, and to his dub VA for sounding similarly good, imo.)

66 is probably less popular in comparison, treating us to our first clipshow of the series, though 66 episodes in isn’t a bad time (could be worse, VRAINS jk).  It’s endearing enough, though--kinda nice seeing SAL again; Judai’s hunger-induced visions give us Chronos, Misawa, and Manjoume making monkey noises; and the duels featured were important for Judai early on.  I also like the bit of new animation as vision!Ryou follows up with Judai about respecting his opponents; goes with what I’d noticed before about Judai adding his Fusion Undone/De-Fusion strategy to his own dueling after losing to him. (also Judai making a signpost sweatdrop from his aloofness pls)

Part of the initial delay with these were the footage fixes I wanted to work on, as well as a couple visual translations here/there which were fun to work on.  Really want to thank @paradoxi-kay for their great work as always in helping to translate the cover of the copy of Duel Magazine that Judai comes across early in 65, and starting the one on Shou’s copy that I finished up.  List of everything worked on below the cut, as usual, if you’re curious.

Enjoy, folks! I’ve gotten some work started on 67 already, and my plan is to try and work on some double releases to make up a bit of time, lol.  I’ll be posting these two on NAC in the next couple of days along with the re-finalized hardsubs and scripts/DVDRips; while I work on getting 67 and 68 done, I’ll also start some work on prepping softsub MKVs (also to go up on NAC) for everything I’ve fully finalized, since it’s been a while on that front.

Fixes/Edits! (65)

As Judai wanders in the forest early in the episode, he comes across a stack of old Duel Magazines; the front cover shows Ryou and is an issue from his winning streak days before his more recent loss to Ed.  Thanks to @paradoxi-kay​‘s great work in typesetting my translation onto the cover I blanked (which I detailed here), you’ll see it in English in the hardsub above.  The translation was first applied to the close-up of the cover that comes after #2 below, and then I took the translated cover and made it its own image that I put into the earlier shot as Judai approaches it while they’re all still tied up (detailed here).  The text reads, “Exclusive!! Kaiser Ryou Marufuji / Breaking down his Cyber Dragon deck!!! / In this issue: / -Duelists Du Jour / -Pro League Battle Data! / -Reader-Submitted Best Duels! / -Strategic Attack Decks by Type!” (Really appreciated Kay’s input on “Du Jour” because my original translation for that, “Duelists Who Are All the Rage,” wasn’t as catchy, lol.)

As Judai picks up one of the older Duel Magazines and flips it open, we see on the back cover an ad featuring the three Phantasms--it’s actually an in-show ad for Shadows of Infinity (since the episode aired around the time the pack came out in Japan); I detailed the process in blanking and translating it here (shared above).  The ad reads, "The Three Phantasms Descend!" featuring Uria and Raviel’s names on their images.

As we go to the Red dorm as Shou narrates about the Kaiser’s slump, we see a magazine page describing what happened to him since his loss to Ed; I covered my blanking/translating this in the link shared in #2.

We then see that it’s Shou reading the page from his own copy of Duel Magazine, this one more recent than Judai’s featuring Ed on the cover, though it features the same SOI/Phantasms ad on its back cover (now showing Hamon and its name as well).  Like with Judai’s issue, I used the Japanese cover and the dub’s edit as reference to just redraw Ed and Diamondguy enough to remove Ed’s name; Kay had started the translation placement and I finished it up.  For the SOI ad, like with #2, I added in the dub’s edit in pieces, tweaking it to match the original image more (since they again oddly edited the text out or redrew Uria/et al weirdly to do so).  We do now see more of the ad which shows that the trio’s names are on each of them, the English of which I added.

As Asuka snatches the magazine from Shou to work on cheering him up, to be consistent, I also worked in these cover translations to the magazine as she lifts then curls it up, using the dub’s blanked Phantasms edit as a base that I touched up a bit while adding back the Japanese cards.  Detailed more in #2′s link.  (We now also see that the ad reads on, “New! Shadow of Infinity - On Sale November 11th [2005]!”; the IRL booster pack came out in Japan on Nov. 17th, 2005, a few weeks before 65 aired.)

Asuka then lifts the curled-up magazine into view in a close-up, with the SOI/Phantasms ad visible which I also applied my translations above to as needed, using the dub’s blank edit as a base that I redrew parts of to touch up and match the Japanese image more.  Detailed more in #2′s link.

As Ryou meets Monkey Saruyama, he introduces himself by handing out his business card reading, "Saruyama Promotion - Representative Monkey Saruyama;" as detailed in #2′s link, I cleaned it up using Photoshop’s Clone Tool, then slapped the translation on using Calibri as the font.

As Ryou contemplates attacking Acid Slime with his Cyber Dragon and Mad Dog Inukai taunts him, as Mad Dog then slides in on a split-screen to “clear his doubts,” there’s a quick frame as Inukai takes over the screen where there’s a gap between his pecs and the split-screen edge.  I fixed it by just drawing in the rest of his chest in Photoshop to fill his side of the split-screen.

As Inukai starts his turn and activates his Contingency Fee Magic Card, there’s a frame where, as he’s sliding his hand with the card into the shot, the card itself slides ahead in his hand before his hand does; as a result, you can see a bit of the background just under the card before his hand catches up to the card in the next frame.  I fixed this by just duplicating the first frame here over it in Vegas.

Two here--first, after Ryou has his Proto Cyber Dragon attack Clone Slime, as Inukai begins to explain its effect, there’s a quick frame before the shot goes from a close-up to a slow zoom as he moves where his neck vanishes (new meme format go); I fixed this by just duplicating the previous frame in Vegas, while also correcting one of his looping lip-flap frames so that the scar on his chin is above the shading under his lip.  Then, as Inukai goes into Clone Slime’s effect and the shot slowly zooms out, we see Clone Slime on his Disk in Attack Mode when it’s in Defense Mode right now; fixed it by placing a proxy in Defense in AfterEffects for a frame, then re-keyframing that frame to the zoom-out in Vegas to put it in place.

After Acid Slime slips out of Inukai’s Cemetery as Clone Slime’s effect activates, Inukai moves to grab it before the two Slimes switch out, but Clone Slime’s still in Attack Mode on his Disk; fixed by placing the Defense-Mode proxy over it in AE, then moving it as he moves his Disk and applying a brief brightness increase as the light from Clone Slime being replaced with Acid Slime grazes it.

As Proto Cyber Dragon’s attack approaches Acid Slime in a quick shot, the card under it in Defense Mode is reversed (the name box should face to the left to match how it’s placed on his Disk); fixed by first applying the correctly-facing proxy in AfterEffects and moving it as the shot moves, then masking Acid Slime back in over it, along with the light coming from the attack as it starts to shine over its card.

As Ryou explains Overload Fusion’s effect, just before it starts to zoom out as he then chooses the six Monsters he’ll fuse, there are a few frames I noticed where Ryou’s whooshing hair throughout this shot suddenly stops whooshing; I fixed it by just masking in his whooshing hair from the previous frames for a few.

As Ryou taunts Inukai about how his Acidic Last Machine Virus will bother him no more, Inukai starts to slide in on a split-screen, but until his split-screen has fully slid in, there’s no border on its edge; I fixed it in Vegas by first masking out the border once it’s fully slid in, then moving it in another video layer with his split-screen for those nine frames.

As Ryou explains Chimeratech Overdragon’s multiple attacks, we see it reversed on his Disk; fixed by slapping on the correctly-facing proxy in AfterEffects, then re-keyframing it to the slow zoom in Vegas for the 94 frames it zooms out in (phew).

One error that I hoped to fix but scrapped happens as Chimeratech Overdragon’s first attack closes in on Inukai’s Multiple Slime, where we see a Defense-Mode card under it despite it being in Attack Mode the way Inukai summoned it (and since he then takes damage from the attack); couldn’t quite figure out how to light up the floor I’d redrawn under it with the ensuing explosion, and had sought a bit of help to get it right but ultimately that fell through. (Incidentally, not only did the dub not catch this as they dubified its card, but they reversed the card, at that, lol.)

Fixes/Edits! (66)

(Note: These are all flashback-related, and I detailed most of them [including a few new ones] in my post from Sunday that I linked just under the summaries; I went on to apply the fixes I’d applied in 66 to the respective episodes, so I’ll be brief here.  Reinserted fixes from a while back are in italics.)

(Episode 1 Flashback) I reinserted the fix I did to replace the blank Normal Monster on Judai’s Disk in Flame Wingman’s spot with its card as Antique Gear Golem crashes onto Chronos.  [Ep. 1 Flashback End]

(Episode 22 Flashback) As Misawa attacks with Litmus Death Swordsman to start his flashback, I reinserted the fix I did to detail the blank cards on his Disk with Diamond Dragon and Litmus Death.

As Misawa finishes explaining Wingbeat of Giant Dragon’s effect and it zooms out to Litmus Death, I reinserted my fix to his reversed card on Misawa’s Disk to flip it right-side-up.

Reinserted my fix to the repeat of #3 as Skyscraper fades.

Reinserted my fix to another repeat as Misawa explains Spirit Barrier’s effect.

R-R-Reinserted my fix to the r-r-repeat again as we see Misawa’s Disk while Judai explains Cyclone Boomerang’s effect (gotta love reused animation!) [Ep. 22 Flashback End]

(Episode 4 Flashback) As Judai prods Manjoume into choosing a card from his hand for A Hero Appears’s effect, I fixed Manjoume’s blazer looking semi-faded for a frame on his split-screen.

As Judai’s LP take a hit from V-to-Z destroying Burstlady, I fixed the four frames where the upper part of his Disk is missing the little bottom part that extends out a bit and Judai’s vanishing Disk wrist grip.

A bit complex, but I fixed Judai’s briefly-still-missing-then-vanishing-again wrist grip, the shading near his Cemetery slot, Judai’s arm becoming part of his Disk, and his wrist grip suddenly consuming his whole wrist. (Detailed in that Sunday post)

Reinserted my fix to the Attack-Mode Winged Kuriboh on Judai’s Disk to put it in Defense Mode as he discards two to activate Evolutionary/Transcendent Wings.

As Judai swings his arm around telling Winged Kuriboh LV10 to “send [V-to-Z’s] energy right back” at Manjoume, I reinserted my fix to put its Defense-Mode card in the spot on his Disk colored like the Monster Zone it’s on for a few frames.

A bit complex again recycling the Judai shot in #9, but I fixed his again-vanishing Disk wrist grip and half-Disk arm, his wrist grip suddenly consuming his whole wrist again, and his yet-again-vanished wrist grip, miscolored undershirt, and his half-Disk elbow while restoring some previous detail to his Disk. (Detailed in that Sunday post)

As Judai summons Featherman–to Shou and Chronos’s surprise–and has him lunge at Manjoume for the finisher, I reinserted my fix to keep the black faraway box that is Featherman on his Disk both as those two slide in on split-screens and as they slide back out. [Ep. 4 Flashback End]

(Episode 8 Flashback) I reinserted my fix to remove Featherman from Judai’s Disk as his LP drop from Cyber Dragon destroying it.

Reinserted my fix to a repeat of #14 as Judai’s excited about Ryou’s Time Capsule.

As Judai draws for his turn, I added a Fusion card over the dark-orange rectangle briefly in his hand as he draws it.

After Judai’s first hit on him, I fixed the error as Ryou Special-Summons another Cyber Dragon as a Monster in face-down Defense Mode on his second Monster Zone (detailed in that Sunday post).

Reinserted my fix adding Cyber Twin Dragon to Ryou’s Disk over a yellow rectangle.

As the screen zooms in on Judai after Ryou declares Cyber Twin’s attack, I added Thunder Giant to Judai’s third Monster Zone, then reinserted my previous fix adding it as it zooms back out while Judai uses A Hero Appears.

Reinserted my fix adding a few quick lip flaps to Judai as he says, “Partner,” out loud.

As Judai thinks about how Evolutionary Wings would evolve his Winged Kuriboh and we then see Bubbleman on his field, I added a missing Bubbleman card to his Disk.

Right after #21, I revised my previous fix to replace the Defense-Mode Mudballman on his Disk with an Attack-Mode Bubbleman, after I accidentally put it in Defense Mode before.

As Ryou grabs Power Bond from his hand before activating it, I reinserted my fix adding Ryou’s two missing Cyber Dragons to his Disk and then one over the blank Normal Monster card in his left hand.

As Ryou slips Power Bond into his Disk, I reinserted my fix adding those two missing Cyber Dragons onto his Disk.  [Ep. 8 Flashback End]

For the Ep. 67 preview, I added my translation of the notice left on the Red dorm by Napoleon which I’ll be using in the episode proper.

[verylead-flavored-candy33]

[colorfulfoxengineer]

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Apothecary Diaries in March: -Kusuriya no Hitorigoto (Apothecary Diaries) will be getting the Cover and Lead Color Page in GX SUNDAY magazine The issue is scheduled to release on ３/１９

Release of Volume 13 of Big Gangan manga version ３/２９

-LIGHT NOVEL VOLUME 15 ３/２９

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[oratokyosaigunda]

Sunday GX cover 2024年11月 issue