#dgnetwork

[landgraf]

1 Tag Arbeit - 3 Monate Urlaub. Ist das wirklich möglich?

Im Internet Geld und Provisionen kassieren ist längst kein Geheimnis mehr.

Trotzdem haben es viele unglaublich schwer und schuften sich dumm und dämlich. Oft sogar für nichts und wieder nichts.

Jetzt endlich das Nr. 1 Erfolgssystem kennenlernen

Vielleicht hast du bereits erste Einnahmen mit Online Marketing verdient oder nutzt Online Marketing für dein Business.

Aber du merkst selbst: Schlussendlich tauschst du immer noch Zeit gegen Geld.

Sven Hansen und Tommy Seewald verraten dir gemeinsam mit Mike Hager im kostenfreien Online Workshop ihr 5.4 Millionen € Geheimnis!

Damit schaffst du es, an einem Tag mehr zu verdienen als die meisten Unternehmer in Monaten.

Sei unbedingt live dabei! Achtung: Extrem streng limitierte Plätze. Frühregistrierer haben Vorrang! Ich werde auch dabei sein und freue mich dort auf euch!

Euer DGnetworker

[dgnetworker]

Das wird die krasseste Neuerscheinung auf dem deutschen Bückermarkt 2023

Der Erfolgsautor,Gründer,Coach und Affiliate-Marketer Ralf Schmitz veröffentlich am 20.12.23 seinen dritten Bestseller und Du kannst direkt vom Start weg dabei sein!

Klicke jetzt hier und sichere Dir neben einem Platz auf der Warteliste zusätzlich die Chance auf ein Apple MacBook - fabrigneu und in Original-Verpackung!

Ich drücke jedenfalls jedem die Daumen!

Euer DGnetworker

[norowareshimono]

Gray Log’s Monochrome Gallery: Hoshino’s Chapter Covers Selection

Other DGM translations

Presenting the chapter covers that Hoshino herself has selected with her commentary! It includes the her personal Top 3 too!

First place: 

Chapter 167 “Hint”

I like the balance of the whole picture and how it combines scariness and cuteness. You can feel the bond between them, but at the same time something feels off. Moreover, I think I did a good job at giving it a meaningful air.

Second place:

Chapter 193 “Friend”

My second favorite.

I drew this cover just after the last scene of the chapter, the one where Kanda destroys the rampaging Alma, and I remember being overcome with emotion. Alma had become very dear to me by then, so I wanted to give him one of his lovely expressions for last.

However, drawing him smiling was difficult to do. Regarding the letters saying “friend” behind Alma, they are supposed to be made with “blood.” Had this been a color page, I would have probably painted them in a black to red gradation, instead of pure black.

I’m sure this Alma is turning towards Yuu, a smile coming to his lips.

Third place:

Chapter 105 “A Stage in Rouge”

I adore Krory and Eliade’s tragic love.

It’s a pitiful one, but I love it (laugh) and I think this cover was able to express it well. I think it’s a shame that, due to time constraints, the rose garden in the background ended up looking so rough, but there is something in how you can only see Eliade’s shoulder that’s really sad and painful. The situation, with Krokins holding an umbrella, is cute too, to the point I feel like praising past me (laugh).

The Nominees:

Chapter 2 “Full Moon Night”

The current me wouldn’t ever come up with a composition like this, would I? There is something nostalgic in realizing that I once came up with these kinds of ideas. The resemblance to the movie “Nightmare before Christmas”, the likening of the end of the curtain to a city, the roses blooming from what appears to be a pool of blood… The me back then had some spooky yet cute ideas, didn’t she?

Chapter 43 “Laughter”

Of all the Tyki I’ve drawn, I think this one is the most handsome (laugh). Often, whenever I forget how to draw him, I give a look at this cover (laugh). It’s a refreshing image, very much like him. I like the simple background too.

Chapter 59 “White Heartbeats”

Miranda sitting with her legs crossed is a sort of refreshing sight, isn’t it? (laugh) The second uniform fits Miranda really well, so I’m glad I got to draw a full body picture of her.

Chapter 60 “The Path of Oath”

A back view of Allen and Tim, which sort of parallels the Mana and Allen cover that took first place. You ought to look at Tim’s shapely, terse butt! The tight line between its legs is especially cute!

Chapter 62 “Battle Plan”

This cover was drawn with just a pencil. It illustrates nicely the pencil’s characteristic softness, or so I think. After seeing this, I felt like drawing my manuscripts using a pencil (laugh). However, erasing the sketch seems like it would be a problem…

Chapter 85 “To Portray ‘Love’ in that Play”*

I like this one because of how well it fits the chapter’s title and how good is this composition for a cover. I was able to portray the uncanniness in Allen’s Innocence in it. It’s a good depiction in more than one sense, so I like it.

* Translator Note: I’m not 100% sure about this one, but I think this title may have a double meaning. The first, as seen above, being “to portray ‘love’ in that play” and the second “to portray ‘myself’ in that play.” アイ (pronounced ai) is in katakana, a strange choice if you were talking only about 愛 (also ai, meaning love). The only other option that makes sense in context is the English “I”, which is also written as アイ in katakana. Both are very fitting, so I think this was intentional.

Chapter 99 “Debt Crisis”

I was in a real hurry when I drew this one. I can clearly remember myself drawing in a rush with the calligraphy pen. The detailed parts, like the buttons or the hair, were made using a normal pen, but everything else was drawn with the calligraphy one.

Chapter 103 “An Unruly Child”

I like a lot of covers depicting Krory, don’t I? It’s the same pose I gave Allen in chapter 14, but it’s a good fit for Krory as well. I like it. The gentleman look is a good match for Krory, don’t you think? He’s tall too, and that gives him the air of a fashion model.

Chapter 119 “La + vi”

If you were to use only objects, I think this picture would be the only possible metaphor for Lavi’s character. The small objects within the coffin are all the things he has recorded in his travels. This represents that Lavi is empty inside, that he’s filled only with information. There is also a reason for the birdcage to be empty, but that’s still a secret!

I was able to cram a lot of information about Lavi in this one page, so I’m quite fond of it.

Chapter 123 “Voice of Darkness”*

I drew this as my idea of how Allen’s “Crown Clown” would look if it took human form.

* Translator Note: The furigana says こえ, voice, but the kanji is 吟, which means “recital” or “lament.”

Chapter 124 “Black Carnival”

This cover doubles as a panel of the manga, but I drew it so Allen and Tyki were the picture of “eeriness” and “fear.”

Chapter 130 “Eyes of Hatred”

I’m satisfied with how I drew Allen’s eyes here. Back then, that made me so happy. The smoke trail and the frills in Cross’ hand are lovely and well done too.

Chapter 132 “The Musician!!?”

After lots of worrying about this cover, I thought "let's include every element associated with Allen!" and this is how it turned out. This page took an unusual amount of time.

Chapter 138 “But Time Goes On”

Drawing this cover was fun. In Allen’s drawers there are only sweets (rations) and detailed debt accounts (laugh). The room is so small there isn’t enough space for two beds, that’s why Link is waking up an a futon.

Chapter 195 “Ripple”

I managed to draw a good pose here. There is no other character in DGM that could pull this off (laugh). At the time, my assistants thought that the flashing light over his head was hilarious (laugh), but I wanted to add it for the symbolism!

Chapter 198 “The Truth of the Barren Flowers” & Chapter 190 “The Garden of Barren Flowers”

After drawing this, I was filled with satisfaction. This cover marks the first appearance of Alma in a cover without a smile, I think. It’s an image of Kanda and Alma once they learnt the truth of the “Second Exorcist Project.” My goal was to liken them to lotus flowers, and I think I was able to convey that idea here. The cover, title included, forms a set with the one for chapter 190. They are standing outside the lotus at first, all to get inside at the end. The idea was to use these two pages to represent the beginning and the end.

Chapter 208 “We, Who Live Lost”

Those who depart and those who return. This image left a huge impression in me, as it was the first time I drew something with that kind of concept. It was really fun to do. Johnny’s pose is absolutely uncool, yet for some reason it makes me want to cheer for him. I like that about it.

Chapter 209 “In Search of A.W. – Travelling Companions”

I like this Reever. I want you, readers, to imagine who is in the photo he is looking at. Ehehe. What’s bringing out that smile?

Chapter 214 “In Search of A.W. – Awakening”

This was my first time drawing a full body picture of Nea. Just as the theme of “Kanda and company = lotus flowers” exists, the same goes for “Nea and company = the wind.” If you can perceive that more or less in this scene, that’ll make me happy.

[noirflim]

happy birthday, allen walker.

[chrisemrysblog]

Poker Pair Week: Day one

Hello dears!

So as the title implies, I’ve decided to participate in Poker Pair week this year! Then again, I wasn’t yet a fan of DGM last year. But when I saw the overall theme of Travel, it reminded me of my roleplay with @thenoahfamily​ and so I just had to write.

I will do my best to post a chapter per day for this week, and I do mean chapter, because this will end up one big story and each new chapter is a sequel to the one before. It is also good to know that once the week ends, I will post on FFnet and AO3 all the chapters as one big one-shot! I will also use the tag Poker Pair Week 2017 (the link gives to the posts in chrono order) on my blog!

Settings/Summary: Set in Searching for AW, but before Johnny and Kanda find Allen. A story of how Tyki and Allen meet again, end up travelling more or less together, and found themselves forming a bond that might not be just friendship. Note: The Allen in this story is similar to the one I write in Meet me halfway to the end! Mainly, this means similar characterization (which is also similar to how I rp him), but also that he is 18/19 years old. Meanwhile, this is my first time writing Tyki.

I hope you enjoy!

Day one prompts: Accommodations; Safety; Language; Sunshine.

Silver eyes gazed down at himself with a wince as water dripped down from his coat. Timcanpy peeked out from his shirt, somewhat dry thanks to having stayed under the layers of clothes, and Allen glared for a second at the very amused look the golem had. Then, he lifted his head with a sheepish smile as the inn's owner came to him. Or so he thought when he had heard the steps.

His smile fixed itself as instead, the one that had approached him was revealed to be Tyki Mikk in human form, one eyebrow arched and golden eyes taking him up and down. “Well, this is a nice surprise, Shonen. Who would have thought we would meet here, with how you have been avoiding us.”

Allen's expression hardened for a second, gaze drifting to the window, as if considering walking out. But it was not just rain outside, it was a storm. He could tell even Tyki had been surprised by it, he wore only a dress shirt and pants, short hair still a bit wet. He also missed completely the flash of concern as Tyki noticed the intent behind Allen's gaze.

“I don't know about you, but I would rather not get drenched again.” Tyki started casually, little smirk showing as the white haired male looked back at him. The Noah didn't miss the shivers of Allen's body. Silly boy. “And fighting here is more than likely to get us out.” He paused, letting the younger man take into the meaning of his words, and feeling smug when the calculating look shifted into hesitation. “So you should get yourself a room already, or else you're just asking for a nasty cold.”

Allen's eyes sharpened into a small glare, but he knew Tyki was right. There was no way it would be safe for him to go outside right now, and if he got himself sick, who knew what would happen if the Noah inside him decided he wanted out? Beside, he felt how he started to shiver hard. So with a sigh that betrayed resignation, Allen started to walk toward the inn's owner.

A hand on his shoulder stopped him as he was about to pass Tyki. He stopped short, glancing to the side, and meeting Tyki's serious eyes. “The Earl really wants you home.” The white haired tensed under the hand, but the man only patted his shoulder, looking out the window. “But I don't have orders right now. He only asked us to take the Fourteenth home; but I'm not seeing him.”

This was as close as Tyki would come to let Allen know he would be safe tonight, even with the Noah's presence in the same inn. It made warmth show in his chest, which he pretended not to feel. “We're two travellers trapped by the rain.” Truce accepted.

Tyki returned his gaze on him with a smile, feeling the way Allen relaxed under his hand. The younger man didn't know it, but he looked tired, even relieved and grateful. It had been an impulse, really, to decide he would rather have Allen stay safe inside, but he couldn't deny it had come from the desire to not see Allen run away from him. He had helped him escape, let him escape, and it was not as if there was a real rush to get him; instead the Noahs were keeping an eye on him.

So really, Tyki was just looking out for Allen by making sure he didn't go back out. The little voice that told him it had hurt when Allen's first reaction had been to look for a way out, away from him, could get silenced. Because Allen had still accepted to stay.

And so Allen finally went to get his room. Tyki watched him for a few seconds, then went back to the table he had been occupying, finishing his drink. In a way that both knew to not be by chance, he ended up going back to his room just as Allen went to his. But neither of them commented on it, though Allen rolled his eyes and Tyki grinned.

As it was, the rainstorm didn't stop after the first night. Or the second. For two days, after an initial attempt at staying on his own, Allen ended up with Tyki sticking around. Not that he minded, because of course poker had ended up their choice of pastime, and poor Tyki had believed he might figure out how to out-cheat Allen.

He also had made the enormous mistake of saying the loser would pay for the next meal, the first day. Tyki kept his words, but Allen only smirked knowingly when Tyki didn't make the same promise the next day.

A curse left Tyki when he lost again after a few rounds, in a language that Allen didn't recognize right away. Someone else did, from a close table, and called out in pleased surprise in the same language. Two things happened then: Allen identified it as Portuguese, and a shiver ran down his spine when Tyki replied in the foreign language that seemed to roll naturally from his tongue.

Allen didn't understand much of it, as he had barely been in Portugal before, though it was clear that Tyki soon ended the little conversation. Still, the few words he recognized, and the expression, told him a lot about what went between the two men. It was obvious Tyki had been offered to come, and Allen had shifted on his seat at the glance toward him, pretending not to notice the mocking edge. And it was easy to do, when he spotted the annoyance that flashed into Tyki's eyes and the way his words were clipped.

Allen had to bite his tongue to not let a smug smirk show as Tyki finished with a wave of hand that was dismissive, not even looking long enough to see the way the other man's ears reddened and instead giving back his attention to Allen. “Want a drink, Shonen? Though I haven't seen you touch alcohol. Not old enough?”

Allen didn't even change his expression despite the teasing tone. “I'll have you know I am over eighteen. But I'd… rather not drink alcohol.” He noticed Tyki's curious look, borderline determined, and Allen had a smile way too sweet all of the sudden. “I will rob you of all your clothes and not give them back this time, if you even try spiking my drink.”

“… Fair enough.” Tyki would have liked to believe he wouldn't be stupid enough to bet his clothes after that, but he also knew that smile meant trouble. Better not test if Allen could really follow with his threat. “You didn't answer my question, though.”

“Well, if you offer it, I won't say no. I think something hot might be nice.” Indeed, now that Tyki put the idea in his mind, Allen felt that he would be happy with some tea. Or maybe even hot chocolate.

It was once they were sitting side by side, with hot cups in their hand, that Allen finally asked, “So you speak Portuguese? It sounded rather… easy for you.”

Tyki grinned. “Fishing for informations?” He laughed in a low manner at Allen's short glare. “It's my native tongue, I would hope it sounds easy. I'm surprised you recognized it, though.”

“I have been close to Portugal before, but not long enough to pick more than a few words.” Allen admitted. “That's one of the few European languages I can't really speak.”

“I could teach you some of it.” Tyki offered, to which Allen was quick to look at the man.

“Why?” It left his mouth before he could really control it, which surprised him. Since when did he feel comfortable enough around Tyki that he could slip?

But Tyki only let one elbow rest on the counter, placing his cheek on his palm as he gazed at Allen. “Because I can. What other reason should there be?” His smile was turning predatory. “Or would you like me to say it's because we'll spend more time together?”

Tyki knew he made a mistake when Allen's left hand clenched hard enough around the cup to destroy it. Or maybe it was when pain flashed in his silver eyes just before he turned his gaze away, faint redness over his cheeks.

Oh. That's exactly what he wanted me to say, and he might not have realized it.

A surprised shout came from Allen, though at least, his left hand was more tolerant to temperature. The owner was quick to come, but Allen waved concern and apologized with a smile that Tyki knew to be fake. Before the owner could reach to check Allen's left hand in well meaning worry, Tyki did it first, catching his left wrist.

“Let's treat that. Thank you for the drinks, and sorry for the mess.”

Before Allen could react, Tyki had placed the money on the counter and was tugging Allen away. The white haired followed, a little taken by surprise, but he felt again the same kind of warmth he had felt when Tyki had offered the truce of sort. He had no doubt, after all, that Tyki had just prevented his left hand being seen.

They also ended up in Tyki's room rather than Allen's. “You didn't burn yourself, did you?” Tyki asked not long after the door had closed behind them, while still getting Allen's hand closer to his face.

“N-No, this was nowhere near hot enough to do anything.” Allen replied honestly, and couldn't help pulling back when Tyki started to remove his glove. Or tried to, because Tyki's grip was too strong.

“You should still remove that glove.” Then he lifted his gaze to pin Allen with his golden eyes. “Why this face, Shonen? I know how your hand is.”

It was then that Allen realized his expression had slipped, and that he had shown the wariness bordering on fear that he still felt whenever his hand could be exposed. It had lessened in the Order, but after being on the run, it had returned with a vengeance.

Meanwhile, Tyki had finished pulling the glove, gaze softening even if he had wanted to not show it. “It's good it was your left hand that took it all. You could have gotten cut or burned otherwise.” He paused, finally lessening his grip, though felt some contentment at seeing Allen didn't do anything at first, only letting his hand drop slowly after a second or two.

“Yeah, well, only my left hand is strong enough to break a cup. It's a miracle the owner didn't question it.” Timcanpy, who until now had been hiding in a pocket, flew out and hovered close to his left hand, as if worried despite knowing his master would be fine. It made Allen smile, giving an excuse to have his eyes drift to Timcanpy.

He could guess, after all, that they were circling around the matter of why Allen had broken his cup. And he wasn't sure he was ready to admit, to think about, how he had grown to enjoy Tyki's presence in such a short time spent without the need to fight. How part of him had hoped Tyki did, too.

“So… We can start now, if you want.” Tyki crossed his arms with a grin when Allen snapped his gaze up in confusion. “Your lesson in Portuguese. Desculpe ter te provocado, for example.” His arms dropped, then one hand came scratch behind his head. “That means, I'm sorry I teased you.”

The golem now on Allen's head showed a grin. Tyki ignored it. So did it Allen. Instead, he crossed his arms, tilting his head with raised eyebrows in a silent, elaborate.

Tyki put his hands on his hips, leaning forward a bit with a smirk. “Spending more time together is a good reason to teach you, which you seem to feel strongly about. Enough to break a cup.”

So, maybe he shouldn't have teased Allen again; Tyki mused as he watched Allen's eyes turn murderous even though his mouth formed a sweet smile. But the faint fluster that the young man couldn't quite control was so worth it.

Even when Allen cracked his knuckles, left hand then right hand. “Oh, Tyki, I didn't realize you wanted us to spend more time together. But don't worry! I have also an idea of what we can do.” His smile widened, sweeter. Tyki felt sweat form. “Would you like to train?”

“… Shonen. Let's stop teasing each other, yeah? I don't think the inn can handle it.”

“Who said I'm teasing?”

Tyki chose to be untouchable right there and then. Too bad Allen remembered about it, and punched with his left hand. The Noah could hear Allen's sudden laughter even as he went right through the furnitures, and stuck halfway out the wall.

Maybe it was still worth it all, to have teased Allen. Because it was the first time he heard Allen's laugh; and he would lie if he said it wasn't a good sound to hear.

In the end, thanks to the good mood the sight gave Allen, he let it slide when Tyki managed to get himself back inside and promptly offered a second drink. Though, that didn't stop him from demanding a meal instead, smiling innocently while Tyki paled even as he accepted.

The mood remained light after that, but also warm, warmer than they had been the past two days. So, when the next morning, they noticed sunshine showing as they took their breakfast, Allen felt he could not blame the spark of sadness.

“Seems like this is the end of our little truce.” Allen commented in a soft voice, once they had both cleared their room, standing outside with Tyki beside him, and heart thumping hard.

“I still haven't seen the Fourteenth. Have you taught him whose the boss?” Tyki returned, not looking at Allen, instead casually liting a cigarette.

Allen shifted his eyes to the man, then back to the sun showing more and more, the corner of his lips lifting a smile that still had trace of his sadness. “Everyday.”

Tyki inhaled, then blew out smoke. “But he still fight you.”

Allen hummed in agreement, though unsure what exactly Tyki was saying.

He didn't notice how the man watched him, watched his sad smile, from the corner of his golden eyes, contemplative. “So you still need to know what you want.” His gaze went forward before Allen noticed it, pretending not to see as Allen glanced at him. “I let you leave once because of that.” And I'll let you leave once more.

For the first time, the smile that formed on Allen's face, the one for Tyki, was genuine. He closed his eyes, and rested his head against the wall. “Run off and figure yourself out, eh?” He chuckled, and heard Tyki do the same. “Should I call you when I do?” He joked.

“No need, I will be there already.” Tyki replied, serious yet warm.

Allen opened his eyes, and whatever look he might have meant to show, it vanished in surprise when he realized Tyki was not beside him anymore. He straightened, looked around, but he did not see him. Then again, he reasoned, this was the Noah who could pass through anything he wanted. For all he knew, he might be under. Or above, he mused as he glanced up. Still, he didn’t catch any sign of the man, and so he guessed Tyki had simply phased off as soon as he said what he wanted.

His lips curled into a soft, pleased smile as he allowed the warmth he had felt twice in his chest to blossom a third time, fully taking over his chest. Timcanpy sat on his shoulder, watching him as he started to walk, absent-mindedly petting the golem and humming a happy tune.

Not noticing the form in the shadows of an alley, letting his cigarette drop and crushing it with one shoe, watching until the white haired male could not be seen anymore, and finally walking off in the same direction.

You silly boy, you just couldn't admit you are lonely. And that isn’t a good look on you.

[irisinally]

Neon Nebula- Chapter 1

Hi! This is my Reincarnation/sci-fi fic I’ve been working on! I said I’d post it last year... okay, that joke it’s too old. 

Get on for a long ride!

Category: Gen

Words: 3104

Rating: Mature

Warnings: Graphic descriptions of violence

Characters: Allen Walker (for now, there’ll be a lot more later)

Additional info: Reincarnation, Sci-fi fic, Post-Apocalypse

Summary:

Humankind has struggled to get back up on its feet after the Noah invoked the “7 Days of Darkness” in 2012, when the extreme natural disasters nearly destroyed Earth. Now, in 2119, the world is suffering a Second Holy War, made publicly known by an authoritarian Government. There are few Exorcists, but as some select people see themselves in grave danger and their powers awaken, a new time comes when victory is nearer than ever.

Memories are fragile and, sometimes, it’s better to just forget.

READ ON AO3

[landgraf]

DIESE VISION IST ZUR ABSOLUTEN REALITÄT GEWORDEN…!

heute möchte ich euch ein spannendes Projekt vorstellen, das euch die Möglichkeit bietet, euer Geld gewinnbringend und effektiv anzulegen: Eternity. Eternity ist eine Plattform, die euch Zugang zu den attraktivsten und lukrativsten Märkten bietet: dem Krypto- und dem Immobilienmarkt. Mit Eternity könnt ihr nicht nur von den hohen Renditen dieser Märkte profitieren, sondern auch von der Sicherheit und Transparenz, die euch die Plattform bietet. Eternity ist nämlich mit einer Versicherung von 100.000€ abgesichert, die euch im Falle eines Verlustes oder Betrugs entschädigt. Außerdem erhaltet ihr eine schriftliche Bestätigung über eure Investitionen, die ihr jederzeit einsehen könnt.

Direkt zum InfoVideo 

Verfügbar in DE-RU-EN-HU

Eternity ist aber nicht nur eine Plattform für Investoren, sondern auch für Partner. Wenn ihr andere Menschen für Eternity begeistern wollt, könnt ihr sie als Partner anwerben und von ihrer Aktivität profitieren. Ihr erhaltet nämlich eine Provision für jede Investition, die eure Partner tätigen, und könnt so euer passives Einkommen erhöhen. Eternity bietet euch also eine Win-Win-Situation: ihr helft anderen Menschen, ihr Geld sinnvoll anzulegen, und verdient dabei selbst noch mehr.

Ich bin selbst seit kurzer Zeit bei Eternity dabei und bin sehr zufrieden mit den Ergebnissen. Ich habe mein Geld in Einstieg -Projekte investiert, die mir die aufgezeigten Renditen eingebracht haben. Ich habe auch Partner geworben, die ebenfalls sehr begeistert sind von der Plattform. Ich kann euch Eternity nur empfehlen, wenn ihr euer Geld arbeiten lassen wollt und dabei sicher und transparent investieren wollt.

Wenn ihr mehr über Eternity erfahren wollt, besucht einfach die Website www.eternity.com und meldet euch kostenlos an. Ihr erhaltet dann Zugang zu allen Informationen und Angeboten, die euch die Plattform bietet. Ihr könnt auch gerne mich kontaktieren, wenn ihr Fragen habt oder mehr über meine Erfahrungen wissen wollt. Ich freue mich, euch bei Eternity begrüßen zu dürfen.

Auf den Erfolg,

Euer DGnetworker

[dgnetworker]

[Achtung] Nur für kurze Zeit gibt es die Anleitung zu mehr Provisonen!

Wie wäre denn dein Gefühl, wenn Du ständig neue Provisionen mit Affliate Marketing verdienen würdest?

Das würde sich genial anfühlen, stimmt’s?

Wärst Du sehr stolz?

Wärst Du glücklich und zufrieden?

Wärst Du außerdem entspannter?

Soviel vorweg:

Ohne einen Plan und die richtige Strategie dahinter wird es nicht klappen!

Hol dir jetzt deine Anleitung, die dir weiterhilft:

Affiliate-Marketing endlich verstehen und damit Geld verdienen

Erspare dir viel Zeit mit der exzellenten Schritt-für-Schritt-Anleitung zur ersten Provision

Du ersparst dir 2 Jahre Arbeit, kannst sofort loslegen und wirst mit dem ersten Hack erfolgreich sein

Du musst nicht länger dein Geld für Kurse ausgeben

Hier geht es zu deinem E-Book!

www.tinyurl.com/3xrr65ve

Viel Erfolg

Euer DGnetworker

P.S.: Achtung! Beeile dich aber lieber, denn ich kann nicht sicher sagen, wie lange das gratis Angebot noch bleibt…

[dgnetworker]

Per Künstliche Intelligenz online rigeros abkassieren

Was hältst Du davon, per Knopfdruck Einkommen im Internet zu erzielen? 

Du kannst regelmäßig Top Online- Einnahmen generieren, indem Du einfach (kostenfreie) Tools der KI „Künstliche Intelligenz“ nutzt und damit schnell und unkompliziert abkassierst.

Es ist auch deshalb ideal, weil es für jeden sehr einfach ist umzusetzen (z.B. vom heimischen Sofa aus).

Und hier alle Infos dazu (kostenfrei natürlich!):

https://jetztklicken.org/awocB

Viel Erfolg euch allen

Euer DGnetworker Dietmar Grutz

[dgnetworker]

Buch „Online Business Für Jedermann“ für 0€ 

Christian vom Internet-Marketing-Club verschenkt für kurze Zeit sein neues Buch "Online Business für Jedermann" und natürlich Jederfrau 😉

Darin erkläret er Schritt für Schritt auf über 74 Seiten seine Strategie:

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Beste Grüße

Euer DGnetworker

[dgnetworker]

💣 Die Bombe tickt..!

Die Welt ist unfair.

Aber Du kannst Dir hier einen extrem unfairen Vorteil für Dich sichern 

Wer schnell umsetzt, ist klar vorne.

Wer zu lange wartet, kann nur noch davon erzählen, wie es andere geschafft haben.

Die Frage ist: Willst Du später von Deinen Erfolgen berichten, oder willst Du erzählen, wie es - mal wieder - die anderen geschafft haben, mit der Schubkarre Geld nach Hause zu karren?

Das ist kein Marketing-Gag.

In 2023 werden die Claims neu gesteckt und verteilt.

Die Revolution der künstlichen Intelligenz sorgt für den krassesten Neuanfang, seit es das Internet gibt!

Wenn Du so richtig fett profitieren willst, musst Du jetzt dabei sein.

Fakt.

Melde Dich jetzt für die Live-Premiere an und sichere Dir Dein Einkommen für die nächsten Jahre wie auf Autopilot!

Hier klicken und in der ersten Startreihe stehen!

Viel Erfolg euch allen!

Euer DGnetworker

P.S.: Dein Coach in diesem Business ist kein Geringerer als Ralf Schmitz höchstpersönlich. Ich weiß nicht, wen Du kennst, aber ich kenne Ralf.

Es gibt keinen besseren Lehrmeister!

Sichere Dir jetzt Deine Teilnahme im Meisterkurs!

[dgnetworker]

SENSATION: Es ist so wie hier dargestellt,ein absoluter Hammer……

Solltest Du aber gedacht haben.. jetzt spinne ich, dann solltest Du wirklich weiterlesen.um alles bis ins kleinste Detail zu erfahren.

Denn hier kommt jetzt eine wirkliche Sensation und ein Angebot für Dich, dass Dir alles an die Hand gibt was Du brauchst.

Als ich es alles hier in der Nachricht von Ralf persönlich gelesen habe,habe ich tatsächlich gedacht,der Ralf ist ja total verrückt.Sicherlich einige Laute auch!!

Und das auch noch als eine echte Sensation ... sofort nach Hause geschickt.

Für nur 9,95€ gibt es aktuell in einer Aktion mein Bestseller Buch "Affiliate-Marketing ist das geilste Business der Welt" in der super hochwertigen Hardcover Version ...

+ Hörbuch im Wert von 14,95€ + Videokurs im Wert von 109€

Das alles für nur 9,95€ und die Versandkosten übernehmt Ralf  auch noch für Dich!

Solltest Du also diese Schlagzeile wie o.g. nicht geglaubt haben, aber bereit bist richtig Vollgas zu geben für ein Leben in Freiheit, Luxus und selbstbestimmt ... dann klicke sofort hier (Klick)

In diesem Buch hat Ralf  alles niedergeschrieben was Du brauchst um online Millionen zu verdienen. Ja, richtig gelesen ... Millionen verdienen.(Er hat aktuell mehr als 55 Millionen Euro damit umgestzt).

Hol Dir dieses unglaublich Angebot bevor die Aktion wieder zu Ende ist.

Es steht absolut alles drin was Du benötigst.

Aber ... nur das Du es nicht falsch verstehen magst..Umsetzen musst Du schon selbst.

Denn das TUN ist das HANDELN,der ERFOLG daraus ist deine BILANZ

Aber davon gehe ich aus wenn Du die Story am Anfang nicht geglaubt hast.

Hier Klicken und meine Aktion für nur 9,95€ statt 139€ sofort sichern (Klicken)

Wünsche allen den Erfolg,die das TUN aufgreifen

Euer

DGNetworker

[norowareshimono]

Gray Log: The Innermost Secrets of Manga! (Part 2)

I’m translating the text version of this interview, that can be found here, given that the manga version included in Gray Log isn’t as detailed. For now, I have no intention to translate the latter, as it would be redundant in my opinion.

Part 1

Other DGM Translations

《3》The core of D.Gray-Man is the “Millennium Earl”

Hijihara: How much time passed until the birth of “D.Gray-Man”?

Hoshino: That’s a difficult question to answer, if we limit it to D.Gray-Man. I’d wanted to draw a manga that had the “Millennium Earl” character since my newbie days. Even I don’t understand why, but I thought about him all the time back then (laugh). That’s why he appeared in all my works, regardless of the kind of story. He was in my unseen storyboards, in my debut work “ZONE” , and in “Continue” the one-shot “Continue”… As I drew those, the Earl’s character gradually grew more solid. I then planned a story that had the Earl at its core, and that was how D.Gray-Man was born.

Hijihara: So, the Millennium Earl is the core of the story.

Hoshino: Exactly. I first planned to make him the protagonist because of that, but then I realized that an old man like the Earl wouldn’t work as the main character in a shounen magazine. So, the Earl became the protagonist behind the scenes and I created a new protagonist from scratch, “Allen Walker.” You could say that Allen was born for the Earl’s sake.

Hijihara: From the prototype, “ZONE,” to the serialization, how many storyboards did you exchange with your editor?

Hoshino: Two per chapter, I think, so an estimated total of six. Drawing storyboards took me a long time. Because of that, instead of exchanging lots of drafts with my first editor, Yoshida, we had constant briefing sessions and I took my time before completing each one.

Hijihara: How many briefing sessions did you have?

Hoshino: I think around five per chapter. If, when I was working in a chapter’s storyboard, I found myself unable to make the deadline, Yoshida would come over to talk at length until we found a solution. He wouldn’t go home no matter what, even when I was already exhausted and sleepy…

Hijihara: He wouldn’t go home!?

Hoshino: We once had a 12-hour discussion, sitting on the cold floor, until a good idea came up. However, thanks to those intense briefing sessions, it only took a few tries to make a good storyboard and the necessary changes were few and far between.

Hijihara: How much of the story did you have thought out upon serialization?

Hoshino: I had decided on the general course of events and the last scene. However, it wasn’t something I had planned for serialization. I took a part of this story I hoped to make someday for a storyboard and, when I showed it to my editor, he immediately gave me his approval, so I panicked. “Think it over, please! This is a really, really long story!” I argued desperately, but he wouldn’t listen to a newbie like me (bitter laugh). Even I knew how grand a work “D.Gray-Man” is, so I wanted to grow a bit and improve before it. In despair I thought that, with my lack of experience, the manga would be a certain failure… But, thanks to everyone’s support, the story got to continue and now I’m working hard to reach the ending I decided on at the beginning.

Hijihara: Do you remember anything your editor said in your briefing sessions?

Hoshino: With all due respect to Yoshida, who was my editor back then, all his ideas were basically useless, so I don’t remember them much (bitter laugh). However, funnily enough, I got good ideas from listening to lots of those worthless ones. I wasn’t about to lose to him (laugh). Perhaps this is because Yoshida taught me to “use the editors to squeeze out ideas” when I was starting out and it has become ingrained in me. I’m in no way belittling editors.

Hijihara: Even now, do you discuss it with your editor if you are stuck at the storyboard?

Hoshino: Yes, they often help me using that method. For example, “Allen’s Musician Song.” Back then I was serialized weekly and just couldn’t come up with anything, so I was running out of time. So, I unreasonably asked my editor to “bring me lyrics, anything is fine, but give me three versions” (laugh). After looking at the lyrics he wrote, I was able to come up with something good myself.

《4》Elaborate backgrounds are a must for a fantasy work

Hijihara: What do you consider when you make the panel layout and illustrations?

Hoshino: How easy is it to read, I guess. My mother often tells me “your manga is too detailed and it’s difficult to read! It gives me eye strain!” I know it isn’t easy to the eyes, but, on the other side, I also know that you must put a good amount of detail in the background and trinkets in a shounen magazine. It’s difficult to balance both things.

Hijihara: The images in D.Gray-Man are very elaborate, right? I was surprised, reading it in the magazine.

Hoshino: I’m drawing fantasy, so I put a lot of care into drawing backgrounds and trinkets. The readers already know how a faucet looks and the like in the present world, but in fantasy, where you’re starting from zero, you fear that they lose interest if the world isn’t built with enough detail in the panels. Are there drain spouts in the buildings from this era? How are the residences of this social class furnished? As I ask myself those questions, I discuss each one with the staff. I have an assistant who studied architecture and, thankfully, they’re quite particular about it too. Besides, I have to decide how dirty and the like I should make the tools so they fit the setting. I have this feeling, that in fantasy it’s necessary to work on building a solid foundation and immerse the readers in your world.

Hijihara: You have collaborated with your assistants to create many parts of the world setting, right?

Hoshino: Exactly. It’s not like I built the entire setting by myself. I think the collaboration of my assistants, with their interest in manufacturing, played an essential part in it.

Hijihara: By the way, the wheat field that has appeared in Nea and Mana’s memories as of late was amazing!

Hoshino: That wheat field… I overdid it (bitter laugh). Drawing nature, like plants and the like, and making it match what we have in mind is a real struggle. To be honest, it took in about 15 tries, including partial ones, to make that wheat field scene fit what I had in mind.

Hijihara: There is a lot of effort put in every scene, right?

Hoshino: In the case of the wheat field, I wanted the reader to get sucked into that world the instant they turned the page. I thought that if they’re taken in by that scene, wouldn’t they then read my work next time too? In many parts, I put a lot of effort wishing with all my heart that the readers buy the next issue too. I’m naturally a lazy person, so there are times I find myself thinking about how, if it were a modern setting, I wouldn’t have to work this hard (bitter laugh).

More in Part 3

[norowareshimono]

Gray Log: The Innermost Secrets of Manga! (Part 5)

I’m translating the text version of this interview, that can be found here, given that the manga version included in Gray Log isn’t as detailed. For now, I have no intention to translate the latter, as it would be redundant in my opinion.

Part 1 / Part 2 / Part 3 / Part 4

Other DGM Translations

《9》The importance of a “last hook” in monthly serialization

Hijihara: Having moved from weekly to monthly serialization, what do you keep in mind with the latter?

Hoshino: Personally, I always remind myself to leave a strong hook at the end. After my move to monthly serialization, my editor advised me to “leave a hook so reader wants to read more even after a month.” Unlike weekly serialization, with the short span between issues and the possibility to recover immediately from a bad week, a whole month will pass between chapters. I think a lot of readers forget the story in that time, so I believe you must make every chapter’s content even more intense and interesting than in weekly serialization. In weekly, for example, they may read you next week even after finding a chapter boring, right? But in monthly they could forget to buy the magazine and the like, so that percentage of returning readers decreases. Then in a seasonal magazine, like the one I’m in, it’s even more pronounced… (bitter laugh)

Hijihara: Making the readers wait for the next chapter is a huge priority in your mind, isn’t it?

Hoshino: Exactly. Nowadays, with the development of the internet and the flooding of entertainment, readers willing to wait expectantly for a whole month to read my manga are precious in my opinion. So, I want to make it so they enjoy themselves, even if just for a bit.

Hijihara: Does creating a hook affect your page composition?

Hoshino: I don’t worry much about composition. Even if I managed to draw an awesome spread page, it would be worthless if the story doesn’t hold up. This is what I think, but even one small frame is fine as long as the story stops at a high point.

《10》Without health, you can’t draw manga

Hijihara: You’re also a judge at the Crown Newbie Mangaka Contest, aren’t you? What do you consider when you’re reading the submissions?

Hoshino: I want them to entertain me as a reader first. I had the impression this time around that lots of the works I read were made without really thinking about the readers.

Hijihara: What bothered you in particular?

Hoshino: To give you an example, many works had the main character’s special power as the title, yet the story and the power were completely unrelated once you read it. There were also those who chose interesting subjects and had me looking forward to the ways the story would develop in such a setting, but sadly all of them ended up being predictable.

Hijihara: So, they lacked depth?

Hoshino: Basically. I think they’re putting effort into choosing interesting themes, so I wish they would treasure what will be their work’s cornerstone more. If you have a setting that feels right for you, I believe you must think about it thoroughly, until it gets unbearable. I think that the ideas you reach after changing it again and again, when you have thought about it to the point others couldn’t come up with what you have, will become part of your work’s unique appeal.

Hijihara: Any must-do’s for a newbie?

Hoshino: Building stamina and creating a tidy living environment! If you’re going through serialization, you’ll need the stamina of an athlete. I’m the first to cling to my desk without even realizing when I get engrossed in my job but if you stay at your desk working the entire day you’ll deteriorate from age very quickly. This may be part of the distant future for someone young like you, Hijihara, but the period when you can pull all-nighters and force yourself to get the job done isn’t really that long. Wake up early and do radio gymnastics or go walking so you move your body, even if you hate exercise, and make a habit of eating balanced to keep a healthy body. You should especially drop the energy drinks! Unless you’re healthy, you can’t draw the manga you love so much. I’ve discovered that with my own body (bitter laugh).

Hijihara: I’ll try to take care of my health from today onwards too! Now, to finish, could you give those who’re aiming to become mangaka some words?

Hoshino: What I can say is, please, keep drawing your manga. Currently, I think that many newbies can’t find a company that will publish their self-contained or serialized works. As that continues, the tendency is to feel insecure about the future and lose your self-confidence, but even so, stand firm and don’t give up. Pros and editors will tell newbies to “draw thinking about the readers” constantly, but you won’t really get it at the start, in my own experience, because what comes first to you is the fun of it. However, if you keep drawing, even when it’s so hard you don’t feel like drawing manga anymore, you’ll learn to work for the readers’ sake instinctively. Once you reach that point, you’ll certainly have the ability to make an excellent work. Besides that, you must have strong faith in yourself to get serialized. For example, you’ll surely regret it later if you don’t put up a fight and work hard without losing heart even when your editor says your storyboard is “boring.” Everything will come around if you keep drawing, so keep working hard!

Hijihara: I’ve learnt a lot from your thorough explanations. Thank you for today!

The End

[norowareshimono]

Gray Log: The Innermost Secrets of Manga! (Part 4)

I’m translating the text version of this interview, that can be found here, given that the manga version included in Gray Log isn’t as detailed. For now, I have no intention to translate the latter, as it would be redundant in my opinion.

Part 1 / Part 2 / Part 3

Other DGM Translations

《7》Getting inspiration from western movies and fashion magazines

Hijihara: Where do you get inspiration for the designs of the AKUMA, the Innocence and such?

Hoshino: For the AKUMA, I decided to give them an egg-like shape in the beginning and then make them gradually evolve to a human shape. That’s why the Level 2 AKUMA in volume 2 says his “thank you for raising me.” However, a lot of the time the design details were decided on the spot, according to what I felt like drawing. Now I can easily use the internet image search and such for reference photos, but back then I had to go to big bookstores and libraries for the material… And I didn’t have the time for that (bitter laugh).

Hijihara: Did you design the AKUMA just with your own artistic sense!?

Hoshino: Up to the Level 3 AKUMA, yes, I only used my own artistic sense. I was planning to make the Level 4 AKUMA to look vaguely like adult humans, but my editor at the time said, “wouldn’t they be scarier as children?” and so I went with a kid design.

Hijihara: How did you design the Innocence (Anti-AKUMA weapons)?

Hoshino: The designs for the Innocence came to me naturally too as I built their characters. I believe a lot of the finer details were things I thought about and decided during serialization. The selection process for the “D.Gray-Man” serialization was really smooth, after all, so I didn’t have much time to prepare despite being a total newbie.

Hijihara: So, does that mean you didn’t have enough time?

Hoshino: To be honest, I had no time to think much about the designs before serialization. Back then, I could finish only one storyboard in one month. When they decided to put me in weekly serialization under those circumstances, I panicked. I was aware that the “Weekly Shounen Jump” was a really harsh magazine, so I went in with the conviction that “D.Gray-Man” would be cancelled in the 10th week. In my heart, I was always determined to prepare properly for the next time for sure. But, fortunately, the serialization continued, and I ended up working on the designs in earnest from then on.

Hijihara: What about the character designs?

Hoshino: I had the character designs decided to a degree before serialization, but nevertheless there were also a lot of details I worked out during serialization. Because of that, there are times when even I unconsciously mess up my own designs (bitter laugh). Every character has a different chin shape, but there are times when the assistants will point out that “Allen’s chin is becoming Link’s” and similar things… My assistants are doing a better job at this than me (laugh).

Hijihara: I look to a lot of illustrations from other artists whenever I’m stumped with my own designs. Do you have something like that to use as a reference?

Hoshino: Now, live action films, dramas and the like. That aside, I often read “Sou-en,” the fashion magazine. I read lots of fashion magazines for a while, and I even single-mindedly watched gothic movies once. When I'm at a loss with a design in “D.Gray-Man,” I often ask for the opinions of the assistants, who have been with me for years now, and decide by majority rule.

Hijihara: Did you get the idea for the uniforms from some western movie, then?

Hoshino: The uniform is a different matter. For the first uniform only, I bought the coat it was modelled after as reference material and created the design from there.

《8》Working even in a single illustration as if it were a manga scene

Hijihara: You are often in charge of magazine covers, I think, so what do you keep in mind when making one?

Hoshino: What I’m the most conscious of with a cover illustration is whether the client will pick up the magazine or not. The first thing a reader gets to see is the illustration, so I first and foremost want to draw something that will be successful as a cover. Because of that, I don’t worry much about how well it represents my own work. Or better said, I couldn’t take that into account until about five years ago.

Hijihara: What made it possible?

Hoshino: What made it possible… Rather than something in particular, it was experience. Back when I was serialized weekly, I had thorough training because my covers got rejected often. “D.Gray-Man” is a dark fantasy, but illustrations with a dark atmosphere were usually deemed inappropriate for a Jump cover. At the time, my editors told me to “use bright Jump-like colors” a lot (bitter laugh).

Hijihara: Hoshino’s illustrations are always absolutely wonderful.

Hoshino: Thank you. However, making cover illustrations is my worst skill. The editorial department sends you a very general rough and you draw from it, but I just can’t draw a cool character illustration without having something in mind. I can, however, draw a cool manga scene without a problem.

Hijihara: What does that mean, in particular?

Hoshino: In short, that I can’t draw an illustration without creating a manga scene of sorts for it. To give an example, I really struggled with the Kanda and Allen illustration for the “CROWN WINTER” issue. I couldn’t imagine the situation those two were in at all. The Kanda in the background was facing the camera initially, but then I asked myself “why is he looking up?” so I discarded it. Afterwards, I came up with the idea of putting him thinking about Alma, and with that idea I decided to make him look down. In Allen’s case, the editorial department wanted a brave battle-ready expression for him, so I drew him with the idea of him fighting for Kanda and Alma’s sake in the Alma Karma arc.

Hijihara: So, was the cover for the first “CROWN” issue difficult to draw?

Hoshino: That time I didn’t worry too much as there was a clear theme: the launch of the magazine. The editorial department sent me a rough that depicted Allen and the Earl looking forward with dignified expressions, but I personally wanted to bring a feeling of celebration to it, so I got them to change it for a composition that had Allen moving, as if he were greeting someone. By the way, I had personally decided to put flowers in the Earl’s silk hat no matter what (laugh).

Hijihara: You put quite a bit of thought into drawing one illustration.

Hoshino: To be honest, I want to become capable of drawing a cool illustration without putting much thought into it. I’m personally jealous of other manga artists who can to do so naturally.

More in Part 5

[norowareshimono]

Gray Log: The Innermost Secrets of Manga! (Part 1)

I’m translating the text version of this interview, that can be found here, given that the manga version included in Gray Log isn’t as detailed. For now, I have no intention to translate the latter, as it would be redundant in my opinion.

Other DGM Translations

《1》Making the storyboards lead around by the characters

Hijihara: I’m a newbie mangaka, Hijihara Erubo. As a great fan of D.Gray-Man, I also had the pleasure of watching the Nico Live* stream from the other day. I’m really, really nervous, but I look forward to working with you!

*Hijihara is talking about the Nico Nico Live that took place in 2016 January 1st

Hoshino: So, you watched it! Thank you so much. I thought that maybe you could draw me with the stream’s Hoshino BOX*, so I came wearing the same clothes I wore back then (laugh). I’m not sure if I can tell you all anything useful, but I’ll do my best. Thank you for having me here.

*The handmade cardboard box that Hoshino wore over her head in the stream.

Hijihara: Let’s start right away then. Could you tell us how do you make your storyboards?

Hoshino: The process is basically like this: I first create an outline in my head, then I have a briefing session with my editor, and then I finally make the storyboard. I always start with a thought-out outline for the chapter, but even so I end up with something completely different every time… The outline takes into account the flow of the story, and I honestly want to follow it. However, when introducing the characters, the story goes in a totally different direction. They won’t listen to me, even if they’re my own creations (bitter laugh). However, I know the principles behind their actions and why they behave as they do, so I’ll abandon the original outline if I can accept the new direction they’re taking. After that, I remake the events of the story.

Hijihara: So, your characters lead you around?

Hoshino: Exactly. The initial outline makes the story neat and coherent, but leaving it to the characters makes the story develop in a more exciting way. But then I often end up in situations where there aren’t enough pages when working on the storyboard with a mind on the characters’ will and opinions like that (laugh). Of course, the conclusion will also be completely different… Whenever my editor looks at it and goes “this is completely different from the briefing,” I’ll single-mindedly persuade them to keep it. Most of it stays due to my stubbornness, but I do revise the parts my editor won’t accept no matter what.

Hijihara: Is it better to stick to your ideas for the storyboard?

Hoshino: It may be difficult for a newbie to speak their mind to their editor, but I think that in the end it’s better to carry it out in a way you won’t regret later. For me, the harsh schedule of weekly serialization became an excuse to reach some compromises over my storyboards that made “D.Gray-Man” diverge a bit from the story I had first conceived. I regret that immensely to this day, and I think about how nice would it have been if, instead of giving up that easily, I had insisted and gotten to draw it as I’ve wanted… That’s why I believe we should have a strong stance regarding our manga.

Hijihara: How detailed are your storyboards?

Hoshino: I currently work in digital from the storyboard stage, drawing them in a style that is detailed enough to be used even as a rough sketch. I’ve looked up to Tite Kubo from Bleach since I heard he makes them like this. However, I wasn’t up to the challenge at first, when I was serialized weekly, and I only changed methods to my current one when I started to work in digital. I made use of simplified drawings before, and the characters’ faces were as complex as the “heno-ji*” emoji (laugh).

*An emoji made with the letters へのへのもへじ, as seen here.

Hijihara: Back when you drew traditionally, what did you draw the storyboards in?

Hoshino: I used a variety of things. I worked with whatever I wanted or felt like I could draw on, so it wasn’t like I had a notebook saved for only that purpose. I’ve used sketchbooks, sketch pads… Once I even drew it on the back of a photocopy I found around (laugh). Even if I did decide to use a particular notebook, for example, I would just end up being like “I have to work this month too… Woah, it’s so white… I can’t look at it anymore…” each time I saw it. Then, I would choose to abandon the notebook I didn’t even want to see anymore and get another sketch pad to draw there.

Hijihara: So that’s how you stay motivated. Did you work at home?

Hoshino: When I lived in Ochanomizu, I mostly drew the storyboards in this café (the one where the interview took place). It’s one of my favorites, and the owner is a wonderful person. The coffee is delicious and, on top of that, the indirect lighting the shop uses for ambience makes the pages appear a soft sepia instead of white… I suffer a lot from white page syndrome, so when there is something there, no matter how small, it helps me relax (laugh). Isn’t the same for you too, Hijihara?

Hijihara: Yes, I completely understand the fear of facing a white sheet…

Hoshino: You could also smoke here and, given that I hate tobacco, that meant I couldn’t stay here for too long. Thanks to that, I could focus and finish my storyboards in a short period of time. I would’ve slacked off if I were too comfy, which is why I think the ideal working place for this type of work is somewhere “comfortable but difficult to stay in.”

《2》The advantages of digital drawing

Hijihara: You said this before, but you’re working in digital from the storyboard stage, right?

Hoshino: Exactly, but I also drew traditionally until a year ago. I think that the first storyboard for chapter 219 of D.Gray-Man, which appeared in the first issue of the CROWN magazine, was made half traditionally, half in digital. The storyboard that I showed to my editor then was a mix of both mediums. Thereafter, I got used to it gradually and moved to making my storyboards in full digital. The tablets I’m currently using are WACOM’s “Cintiq Companion” and the recently released VAIO’s “Z Canvas.” The “Z Canvas” is an excellent tablet that can process even heavy files that use lots of memory, like videos or graphics, smoothly and with no freezing. I bought it after watching a video of Nakamura Hikaru, the author of Saint Young Men, working with it. I immediately decided it was for me because, to be honest, I’ve felt an affinity with her over our shared birthday.

Hijihara: You seem to work in Clip Studio Paint, but what was the reason for going from traditional to digital?

Hoshino: I was an advocate of traditional drawing at first, but I changed sides after facing problems with my work environment. When I worked traditionally, I had created the ideal conditions for me to draw at my workplace, from the angle of the desk to the way the light fell on the manuscript. However, at a certain point I had no option but to work on my manuscript outside of my own workplace… and doing so in an environment different from the usual proved to be surprisingly difficult, so I decided to make the change to digital, for which location doesn’t matter. I’m the type to act as soon as I decide on something, so I soon bought a liquid crystal tablet and, without any practice whatsoever, I immediately started to work on the next manuscript. My first experience with digital drawing had been a failure and I thought I wouldn’t draw on a computer ever again given my little to no knowledge about it. My deadline was close, so I remember being totally absorbed into the task and sending it to print despite having no idea of what I was doing. I was in the middle of serialization, so I didn’t have time to practice at all (bitter laugh).

Hijihara: Didn’t you resist to changing to digital?

Hoshino: Once I made the decision, I didn’t waver at all. I had bought an expensive tablet and software to be able to work in digital, so I was determined to not waste all the money I had invested (laugh).

Hijihara: Did you struggle replicating your line work in digital form?

Hoshino: I wasn’t aware of it, but I did. Do you know how in digital you can zoom as much as you want, unlike paper? I didn’t take the zoom rate into consideration at first, so the lineart ended up being thinner than expected and the drawings didn’t turn out well. I was like “I’m inking just as always, why is this happening?!” (laugh).

Hijihara: By the way, how many people are working in D.Gray-Man at the moment?

Hoshino: Including me, there are three people working in it right now, but at times the number increases for the last spurt. Since I moved to a trimestral magazine, I have some leeway with time, so my assistants stay at their homes and work from there with what I send them. The main advantage is that the commuting time can be used for working. Back when I was serialized weekly, I lived in the city center so my assistants had no transportation issues, but there is no need for that now that they’re working at home and for that I’m grateful. However, everything goes smoother if you are talking face to face. I do talk with my assistants through Skype, but a lot of the time they misunderstand me and everyone ends up frustrated and annoyed.

More in part 2