#my first layout manga

[ventidy]

( 전기소설적인 ) ⎯⎯ ✩ romantic ︖﹖

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ ⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀

[tarrielrae]

🍥 red-hot // naruto uzumaki icons pt. 33 🍥

[seraphmaws]

Asa Mitaka Layouts!

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Rqed by @sacrificesse ! No kin/id/me tags please!

[devilsrains]

eroica 35th anniversary book

inside illustrations; poseidon 2000

[sweetheartsaku]

—HAIKYU!! various ; how deep is your love?

a/n ; [gn!reader] kinda fem implied in kawa's and kuroo's 😓 do yall like the new layout?? c: suggestive if you squint extremely hard in kuroo's .. i honestly dont know if im writing this timeskip or pre timeskip its 3am 😣

— characters : oikawa, osamu, tsukishima, hinata, sakusa, kuroo

part 2 ! ♡ akaashi, kenma, kita, semi, kageyama, suna

jade vine !

tooru oikawa ; SWEET / I THOUGHT YOU WANTED TO DANCE - tyler the creator, brent faiyaz, fana huez

has 'i love you' wars and he MUST win or he will tackle you (affectionate)

takes the BEST candid photos of you and puts so much love into the following insta post. has you as his wallpaper too (please match with him) (he'd also have a highlight just w pics of you😞)

please NEVER do that 'wipe their kiss off' trend because he will actually not talk to you for DAYS and gets all sulky until you apologize. (he will get all cocky all over again)

core memory from his teamates. bae was explaining to his teamates about new volley nerd talk blablabla and they notice his nails painted in a faint pink (for a fun date night, thinking no one will notice)

issei BURSTS out laughing and instantly points it out. now seijoh4 NEVER lets him live it down

always the first person to notice when you use a new shampoo or perfume.

cuddling, (you being the little spoon╰(*´︶`*)╯♡) you can feel his breath hitch when his lips reach your neck

before you could ask why he's stopped inching closer he's already manages to whisper out, "did you start using a new shampoo?" yes. yes you have

do his skincare with him please ! he loves it. he loves when he places you on the bathroom counter and you wrap your legs around his waist, he loves when you're so gentle with the toner, he loves when you graze your delicate fingers over his beautiful long lashes, he loves when you make sure you don't cut him when snipping the face mask so it fits a little more snug, EVERYTHING. (he is sunoo coded)

osamu miya ; good looking - suki waterhouse

loves your tummy SO much. doesn't care about shape or form, he just likes the feeling that you're being fed. squish. or pat. he loves it. have i mentioned he loves your tummy?

when his dad leave the twins at home its always osamu at the stove, please keep atsumu in a 5 mile radius AWAY from the kitchen

SPOON FEEDS YOU. please i need him. on days you're too tired to move a muscle, days where you're too sick to open your eyes, be prepared to feel his hand on the back of your head and one below your chin ready to feed you!! once you've sat yourself up he feeds you so gently... osamu miya i need you

when you're really tired from work, he will send meals to your workplace. if you work at home and sees you barely able to keep an eye open, you will see his hand under a spoon of your favourite meal. he's not the best with it, but he's trying 🥹 he means it with all his heart and hearing you say the food is really warm in your stomach, his heart feels warm too (о´∀`о)

my mans is SNATCHED. slide your hands around his waist, poke it a little do WHATEVER. your hands have probably been on his waist more than his hands on yours.

i think his core is pretty well built. have we seen it in the anime or manga? maybe. but from what i've seen, his physique is very 😳 (a tad bit better than his brother's i fear)

cooking together!!! different recipes each date, basking in each other's presence. its always so fun and the results are always almost flawless!

at one-point y'all were making cupcakes, it was literally osamu baking them and you decorated it.

AND OBVIOUSLY the basic, he would routinely give you handmade onigiri, in different shapes, flavours and whatever you like ✨

kei tsukishima ; the only exception - paramore

kinda scowls at you when you put your hands under his shirt but secretly really loves it so when you slither your hands away he instantly places your hands back and make sure your hands STAY there. bonus points if you have warm body temperature. he likes the feeling of your warm hands on his slightly colder body.

his wardrobe has drastically evolved from muted tones to slightly lighter and vibrant clothing ever since you insisted on getting matching stuff!!

WILL say he is not a jewellery person but collects, keeps and takes care of all the little trinkets you give him DAILY. he has a little sticker on the edge of one of his books and a little moon sticker on the end piece of his sports glasses

he also defineitely has really thick curly blond lashes. you say they are one of his charming points but he gets all flustered. when you insist to put clear mascara on them, he doesn't really look like he has a problem with it 🥹

what could his ahh possibly be listening to with those headphones on so often (real)

sends you playlists at an insane hour that go for insane amounts of time. but i KNOW his taste is immaculate. every song always gives you goosebumps or makes your heart tighten

please do a spotify blend with him (he was gonna ask you, but you beat him to it)(he was shy)

oh AND the shared playlists actually are insane!! so much good music all at once?? crazy yall 😭😭 (wave to earth, cody fry, the smiths, daniel caesar, rex orange county)

shoyo hinata ; intro (end of the world) - ariana grande

honestly, out of all these men HINATA SHOYO is the BEST candidate for taking care of a person except himself. has no limits in his stamina, and will only listen to you when you ask him maybe its time for a break. does he overwork? not necessarily. does he work too hard? yes, in a positive way. please remind him to eat because he will forget sometimes

he will NEVER admit he likes being the little spoon LMAO he finds being vunerable in your arms a tad bit silly, and it bugs him. after a long week of practice games and insisting kageyama and yachi to practice with him the instant he falls on the bed, he finds himself melting into your touch. your voice gets a little more buttery and he loves it, falling asleep instantly

hes probably a hard sleeper too 😭 he wont wake up till he feels your cold hands on his face or the sunbeams from the curtain literally bleed into the sheets and steal its colour

PLEASE STROKE HIS HAIR. he loves it. he absolutely loves it. again, melts into your touch like ice-cream. his heart will feel tight and he has a lil' blush 🥹 whats even more priceless is his lips slightly agape after hes fallen asleep... how can you NOT love this man

one of the only boys on this list who will LET you put little pink bows or style his hair in braids and clips. (if you're imagining timeskip hinata, you have attempted to put a little bow around his bicep but you underestimated its size and it BROKE. gosh what an experience)

DANCES WITH YOU EVERYWHERE!!! omg i love him so much. doesn't care if you have two left feet, he just loves the feeling in his heart when he sees your smile as he spins you around. in the rain, in big empty rooms, in the kitchen, anywhere.

loves the idea of promise rings or little trinkets that ensure he gets to have you forever!!

kiyoomi sakusa ; washing machine - VANISHING GIRL, rosemary fairweather

PLEASE braid this man's hair. 😞 he pretends to despise it and thinks you don't notice when he literally melts under your touch. he feels safe 'nd comfy and hopes it lasts forever, when your hand retracts he has a lil' pout

notices when you've been wearing your favourite hood for a couple days straight, has a little scowl under his mask and throws one of his jackets at you. he only gives you the wind-breakers that are 100% cotton or the ones he just knows you like.

he uses this as an excuse to share his clothes with you. its safe to assume its his love language under-cover!

HE IS SO ASS WITH PDA all you get is him giving you hand sanitizer before eating meals or snacks. its only you though, don't tell him that.

BUT sometimes when he feels like it, he will take your hand and put it HIS pocket so "your hands are always sheltered from germs" now what type of bs is THAT. (you love this bs)

can be snarky. sometimes he gets the slightest eenie meenie miniest bit cocky, and its very noticable. has the ability to be a little bit of a tease but not in a pestering way more like a little smartass way LMAO.

tetsuro kuroo ; never lose me - flo milli

always has his hand in the back pocket of your pants. that was it. thank you for coming to my ted talk. (to feel your butt? no idea.)

tutor sessions always unbearable. either you're too busy staring at his biceps, or you're sighing that he's made a little pop quiz for you!! tell him it sucks please

if he notices it gets a bit too much or overwhelming for you over the week or before study dates, insists to take you out instead (what a gentleman!! kuroo tetsuro come into my life)

extremely consistent with routine. good morning and good night text DAILY no matter how busy he is, he WILL find a way (i like to think its his way or the high way #kingofprovocation /hj). very good at getting the things he wants in a non-manipulative way but with simply logic and brains

yeah as captain hes no. #1 but he is also no. #1 waist CLUTCHER. his hands are always on you somehow even in the slightest way, but never pervy. he just likes having his hands on you! bonus points if you have hip dips, he loves it so much. he finds it as a perfect spot to place his hands on (btw ppl w hipdips yall are BEAUTIFUL!! 🥹)

i feel as he has a possessive side as well. small, but more noticable compared to someone else. will not hesitate to stare someone (or recite chemistry nerd stuff 🙁) down for looking at you a little too long :3

when he sees you post or sees himself in your instagram or tiktok dumps, his heart tightens a bit in the best way possible. when you mention him in the post he only reacts with a heart but he's actually going insane

[undertalethingems]

Heya! I was thinking of making my own comic, and I was curious what app you used to make comics, and if you had any tips.

Anonymous asked: What program do you use to draw? (cant remember if this was already asked or not, sorry if it was)

It has been asked, but not in quite a while, so no worries ^^

I used to use photoshop, but it was an old version that stopped working when i got my newest computer, so I've switched to using clip studio paint. it works pretty much the same, so very little of my workflow had to change, which was nice.

i'm sure most other art programs out there would work just as well though; about the most specialized things i use in clip are some of the brushes--i don't even touch any of the tools that are supposed to help with making comics specifically XD

edit: oops, i forgot to answer the bit about tips for making comics

first off, start small. unexpected guests is not my first comic, and what i learned from past--even failed--attempts has helped me get as far as i have. doing a few short comics will help you get a sense for how to block out panels, how long it takes to draw a page, and how it feels to draw the same characters all the time. Project management is a whole other skillset, but it's important to learn if you want to take on bigger works.

I also recommend studying your favorite comics to understand how they achieved what you like about them. I've mentioned before how the manga Fullmetal Alchemist has been a huge inspiration for much of my work, and sometimes when I'm stuck I'll revisit it to see how its author handled action, how she paced scenes by changing the paneling layout, and so on.

these are far from the only things to know about making comics, but they're the tips that first jumped to my mind, so i hope they help at least a little ^^;

[hotwaterandmilk]

Weddingpeach.net update

I have (finally) updated Weddingpeach.net for the first time in 2024 to include the following:

A new layout by Never Enough Design and a new header image I whipped up featuring a manga scan of Peach and Viento.

Subpage image updates in line with the new layout.

A special sidebar image I commissioned to celebrate 30 years of the Wedding Peach manga!

9 new 1200 dpi image scans in the manga gallery. That's right, I'm finally scanning high-res furoku! You an check them out on the 1995 Ciao Furoku page and the 1996 Ciao Furoku page.

Updated/removed dead links from the Website page.

I had wanted to do a bigger gallery update when launching the new layout, but with my health issues I thought it would be best to just get what I have online lest the 2024 manga anniversary get away from me.

Please visit, link and share this website if you're a fan of Wedding Peach. I am trying my best to make it a useful resource and I'm just overjoyed right now that fans can celebrate 30 years of the manga.

Thank you Yazawa-sensei, Tomita-sensei, and all others involved. Here's to another 30 years of loving this amazing manga!

[aveloka-draws]

I imagine you have a lot of asks so please don't worry if this is too much to respond to, but I wanted to ask if you have any advice/could recommend any tutorials on how to lay out comic panels (or just choose what shapes/layouts to do)? I have some comic ideas but I struggle so much with each frame not just being like 'a rectangle, then another rectangle under it, then anot- etc.,'

Like I can't even figure out whether to draw the art first and then sort of crop it to fit a frame or if I should draw it directly into the frame.... Any help is much appreciated ;-;

No clue! I guess reading a lot of comics/manga you like can help, I keep a stack of my fav mangas around when i want to get ideas for staging types of shots and figuring out panels. (obsessed with Gachiakuta rn)

Even if you only use rectangles you can change the pacing by changing the amount and the size you put in a page, smaller panels usually are meant to read faster (a quick action, a conversation) while bigger ones are meant to keep your attention for longer (introducing a new character, a location, putting more importance in a conversation, expressions etc). Theres many ways to use them tho, so be sure to observe a lot of comics to get a better sense for it!

My process is kinda messy? I'll sketch the scene ideas and stuff in my sketchbook and then try and arranging them in panels.

[asdfghjklmals]

OC GOJO GIRLFRIEND'S AU—CHRONOLOGICAL ORDER

don’t get blocked! did you read the rules yet?

MALS' NOTE

readers have asked how to read my fics in chronological order, so here it is! i've included the ages of the the characters as well. i know the ages are off by a year compared to the manga, but whateva lol.

as of right now, the baby gojo chronicles is sometime later than all of these fics in the timeline.

love at first fight — oc gojo girlfriend and satoru are 17-18

sleeping with the enemy — oc gojo girlfriend and satoru are 18.

the courage to try — oc gojo girlfriend and satoru are 18.

souvenirs — oc gojo girlfriend and satoru are 18.

meet the gojos — oc gojo girlfriend and satoru are 18.

fated to love you — oc gojo girlfriend and satoru are 18.

the honored one — oc gojo girlfriend and satoru are 18.

learn to love — oc gojo girlfriend and satoru are 18. megumi is 5. tsumiki is 6.

pinky promises — oc gojo girlfriend and satoru are 18. megumi is 5. tsumiki is 6.

learning from the strongest — oc gojo girlfriend and satoru are 18. megumi is 5. tsumiki is 6.

to be present — oc gojo girlfriend and satoru are 18. megumi is 5. tsumiki is 6.

back to school — oc gojo girlfriend and satoru are 18-19. megumi is 6. tsumiki is 7.

seeing red — oc gojo girlfriend and satoru are 18-19. sometime before graduation.

graduation — oc gojo girlfriend and satoru are 18-19.

safe haven — oc gojo girlfriend and satoru are 19.

fairytales — oc gojo girlfriend and satoru are 19. tsumiki is 7.

morning routine — oc gojo girlfriend and satoru are 20.

lilies & roses — oc gojo girlfriend and satoru are 20. megumi is 7. tsumiki is 8.

sugar daddy — oc gojo girlfriend and satoru are 21. megumi is 8. tsumiki is 9.

break up to make up — oc gojo girlfriend and satoru are 21. tsumiki is 9. megumi is 8.

butterflies — oc gojo girlfriend and satoru are 22. megumi is 9. tsumiki is 10.

the purrr-fect approach — oc gojo girlfriend and satoru are 22. megumi is 9. tsumiki is 10.

forget me not — oc gojo girlfriend and satoru are 25. megumi is 13. tsumiki is 14.

the cursed child: yuta — oc gojo girlfriend and satoru are 27. yuta is 16.

the cursed child: yuji — oc gojo girlfriend and satoru are 28. yuji is 15.

wherever you are — oc gojo girlfriend and satoru are 28. tsumiki is 16.

in case of emergency — oc gojo girlfriend is 28. megumi is 15.

sealed & delivered — oc gojo girlfriend and satoru are 28. megumi is 15.

EXTRA:

facts about oc gojo girlfriend

facts about oc gojo girlfriend part 2

facts about touya

the baby gojo chronicles

layout of oc gojo girlfriend and satoru’s apartment

© 2023 ASDFGHJKLMALS — all rights reserved. please do not copy, translate, or repost my work.

dividers provided by @/anlian-aishang

[dreamerwitches]

Rating labyrinths: Gertrud!

Okay! Let's go with the labyrinth ratings wheeee!!!

What I'm going to do is rank separate parts of labyrinths (eg. anthony's labyrinth from ep 1 is separate to gertrud's from ep 2) but I'll also give an average at the end.

I will (most likely) only be doing labyrinths that are in colour (so maybe not manga witches)

Anthony's labyrinth from episode 1

I think this is a really good one, especially as the first shown (not including walpy's). It really shows of the cut-out style of the labyrinths and the deep blue-hued colours are perfectly moody. The use of runes in the background is also really fun for secret messages. I feel the only downside is that it doesn't really scream Gertrud to me. Like, if you didn't know the series well and was shown this, I doubt you'd think it belonged to her. HOWEVER... I think this does work for Gertrud since all her precious roses are in her room with her. It makes sense that she'd keep them close.

You could say that it's weird that this labyrinth doesn't share colours with the main one but I think it works because it's a familiar's labyrinth. The photorealistic buildings also match the main labyrinth. I wonder if the butterfly and anthony traffic signs are meant to be a subtle warning to madoka and sayaka hmmm

I really like this one. A 5/5 for me

Gertrud's labyrinth from episode 2

There's a lot to it so it's kinda hard to summarise in images lol. But it's another great one. Great imagery, lovely colours and has themes brought over from Anthony's labyrinth. I think the orange tones, although relaxing, also give off this sepia feel that makes it a little unnerving too. Like looking through a tinted view makes things seem unreal.

One of my favourite parts are the doorways that lead to black nothingness. Really helps with the labyrinthine feel. Small touches like the portraits with slight things changed in them to make them scary. It's the kind of thing you don't notice unless you pause. I also like how it seems the labyrinth becomes more luscious as you get deeper. The trees start bare, then with black leaves, then Gertrud's room is fully in bloom.

I wasn't sure whether to rank the boss room separately, maybe I will... I think the ceiling that doesn't quite make sense works well to make it feel disorientating and it's a fun contrast to the kinda pretty garden around Gertrud. It's messy but in a good way. I also think having the boss room have a different theme to the rest works. Just as before I mentioned that roses are only in her boss room, I think it would make sense that her special place may be better taken care of or just look overall nicer. It's very good but I'd say, not my favourite segment. Maybe just because it's only one room?? That makes it a little unfair to compare to the rest...

I'll give the labyrinth a 5/5. Boss room is a 4.5/5

Gertrud's labyrinth from Magireco episode 11

Yeah... this one isn't it, chief... like, it has the things of her labyrinth but it's just not... uhhh I dunno it feels more like a set piece than a proper area...

Let's start with what I like: of course, I love the Gertrud motifs. The butterflies, the cut out images and the hidden text (although it's no different than the original anime iirc). I really like the halo above Gertrud's area. And the hanging loops. It's weird but pretty. Suits Gertrud!

Sadly that's where my positives end. The stark white is NOT Gertrud it's so weird... I guess the stone rose works better but not the rest. I kinda hate in the zoom out where... it just looks like a video game level, like I'm looking at mario 64 or something ToT that is not a labyrinth..! Just the overall layout is meh. I dislike the random fluff pile below it too. Just felt like they didnt know what to fill it with...

It's a dud but has some good things... I'm giving it a 1.5/5. I know there's worse which is why it's not a 1.

So overall Gertrud get's a.... 4/5 wow!!!

[o0kawaii0o]

Had issues with layout in the ask post so here's the rest!

However 1 artist comes to mind for now and that's Murata Yusuke; I'm rereading Eyeshield21 (again lol) and each time his art makes me go "wah so damn good".

From colours, to how dynamic and alive pieces can feel, to lighting/shading, to textures, etc. Lot of the pieces also have this feel of mundanity in it which I really like, and I also how at time I feel like I'm there as well. I love the mixture of realism in lighting/shading (and at times anatomy) with the manga/comic style!

The last image also was a bit of an inspo for my latest Luffy art!

As for tutorial, I might elaborate in another post at some point (cus it's quite a broad thing to go about). Like I've mentioned before, I'm soaking up things along the way! Which includes things like colour theory, lighting/shading, composition, etc. But I personally don't recommend forced research/practice; art needs to be fun after all, take things at a time but it might be nice to try something new with each piece, however how subtle.

I can recommend Saito Naoki's YT channel! I watch his 'whimsical correction' videos during lunch at times haha - Each 'correction' (more like professional advice) has a certain goal/theme which can be improved upon, which can be story wise, appeal, anatomy, etc.

--

Anyway, some advice I have for now are kinda my 'cheats' will follow now! [Disclaimer: these are things that work for me and are by no means the 'correct' way of doing things. So if I say things like "avoid this", it's something I personally do.]

My strength lies I think mostly in my lighting/shading at this moment!

My flats aren't bad or anything, but I feel like it really comes alive after shading. And the first thing to do is to establish where the light source is. Try to avoid 'pillow shading', work in bigger shapes and don't be afraid to do so. Working digitally, I can recommend to take a big brush and just put it very roughly on your character. You have the means with digital art to easily erase parts that are too much and to refine shapes afterwards.

One cheat is bouncing light.

(This was a Multiply mode layer set back to Normal mode for sake of visibility.)

You gotta have a bit of understanding of volume of where to apply it, but it's light that's been reflected by e.g. the ground back up again. This little variation in shading can add a lot. Note that it's better to go from the OG shading colour and sliding it on the colour wheel (hue) to be either warmer or cooler and then sliding in the square/triangle (saturation and value).

More examples of bouncing lights:

It depends how intense the light is reflected; the more, the harsher the contrast is compared to the OG shading colour.

Second cheat is 'light terminator' and 'substance scatter', not sure if it's really the correct terms but oh well.

This reddish tone (again on the Multiply shading layer) is kinda the border line from light to shade. It's reddish on skin (if you have red blood haha) but you apply it on other things with other colours too!

Make sure you don't overdo it and put it everywhere, also note if you use harsh or blended brush strokes, maybe even both for variation! Try it out and see what works best for you!

--

That's it for now; this took more time out of me than planned 💀 you better appreciate this anon! /jk

My main motto regarding art is "fck around and find out". This mindset also helps with keeping art fun!

[momtaku]

Excerpts from Shingeki Fly

I finally had time today to look closely at my copy of Shingeki Fly. I used my cell phone to translate bits of the interviews, so mileage may vary, but I am fairly confident the gist is more or less correct.

About the Shingeki Fly Color Art Book

Since Isayama prides himself on not being an excellent artist, he wanted the color art book to highlight the work Mr. Nakao, his colorist since the beginning of the series.

I really like this reflection regarding Mr. Nakao on his first chapter of Attack on Titan:

This is the first color manuscript that a presumptuous amateur, a newcomer who doesn't really know how to hold a pen left or right. The composition, panel layout, and everything else is terrible, but the way you colored it so nicely made me think that maybe I can make a living as a manga artist, and that manga doesn't have to be created by one person alone. I remember feeling hopeful that I would be able to participate in the unknown series that was about to begin.

Isayama's experience at Anime NYC in January 2022:

Isayama talks about how happy he was to visit Manhattan. Because he can't be normal for two seconds, he mentions that seeing the skyscrapers at night reminded him of the 1998 GODZILLA movie.

He also talks about the fan panel. My translation app says something like this: By actually seeing the crowd I was able to realize that Attack on Titan,'' which I had been drawing while holed up in my room in Tokyo, was connected to people far away from Japan and overseas. I was very happy to be able to see each fan's face and think, ``How happy are they?''

(I was able to attend that fan panel in person so I can attest how emotional he was by seeing us all there.)

Isayama's experience at Anglouleme in France in January 2023:

Being in France made him feel very far away from Japan because the city and architecture were so different from what he was used to. He described walking on the streets by the Eiffel tower in the middle of the night as thrilling.

While he set the landscape of Attack on Titan as French, German and Italian architecture, he understands now it was all from his Japanese perspective. Seeing the city is person was completely different from what he'd imagined.

How it felt drawing Levi after such a long time

Here is something I didn't know. At first Isayama was going to write a prequel set 100 years before the main story, but after meeting the fans in France he realized the idea of a one shot was to make them happy. Instead of an original idea, he settled the tea cup story, which is something he'd intended to write but had never had the chance.

He said is was surprisingly easy to draw Levi again after such a long break. The only thing he really had to think about is what Levi would sound like as a 10 year old.

"Bad Boy" was also his first time drawing manga on an iPad. Because he wasn't used to it, he had three assistants helping him. I really want a good translation of this bit because it seems funny. He mentions something about how what should've been digital remote work was more of an analog training camp. He said is was fun to reminisce about his "war era" when he would work while chatting with his assistants about trivial matters.

[canmom]

Ping-Pong The Animation: eps 1-3

So Masaaki Yuasa [AN12, AN28, AN150] can do no wrong, right? OK, well, I'll admit Ride Your Wave was kinda mid, and Devilman Crybaby goes hard as hell at the beginning and end but sorta treads water in the middle, but... generally speaking! No-one does it like Yuasa.

For reasons I don't really remember, I didn't get very far watching Ping-Pong The Animation some years ago. It should be entirely my shit: Yuasa pulling in a gang of wildly creative animators to put their unique spin on something. However, the first episode didn't entirely hook me, and I never got round to trying the second before something else punted 'watching Ping Pong' out of my brain. ADHD, y'know.

This is a shame because even the very next episode seriously goes, as does the one after that. But also this anime isn't entirely what I was expecting (crazy sakugafest full of Yuasa weirdness). Not to say it doesn't do a lot of really unique stuff with its cinematography and animation, but these first episodes at least are more about like... dissociation! ennui!

But more on that in a mo. First I wanna continue the thread of 'how do you animate sports'.

So, ping-pong, or table tennis. Not a sport I know much about, I'll be honest. (To be fair I don't know a lot about sports in general outside of some very specific niches. The sports I've pursued so far are rather eclectic: swimming, fencing, tai chi chuan, and roller derby; I never got particularly far in any and it's been years since I've done them.)

I'll inevitably be drawing a lot of comparisons to The First Slam Dunk, the other sports anime I've watched recently. I do think it's a productive comparison though! Both of them bring something of the visual language of manga into their presentation in unique ways. I have not yet read the Ping Pong manga, but it's by Taiyō Matsumoto, otherwise known for scifi manga like Tekkonkinkreet (god tier movie, still need to read the manga) and Number Five. So that's a pretty impressive track record!

If you go take a look at some scans of Ping Pong, what will immediately jump out is the shaky, rough line style and unusual camera angles and compositions.

The stylisation is also very different from a lot of manga. Noses are fully drawn, eyes are realistically small, and in contrast, lips and mouths tend to get the emphasis - as well as hands.

Knowing this makes a lot of the creative choices in the anime make sense! It also adopts a shaky lineart style, and makes use of heavy line weights and spotting blacks to add definition. It also has a lot of crazy closeups and layouts, and it loves a visual metaphor. But most of all, the most striking element of this anime is how often it loves to split the picture up into little panels...

...which [eli]'s subs do a really good job of typesetting, incidentally, moving the dialogue to fit naturally into the split composition. And while this shot with 7 smaller shots is perhaps on the extreme end, splits of three or more are pretty frequent. It's a really interesting way to evoke the effect of seeing a whole page of manga

So, as you proooobably know, ping-pong is a game of bouncing balls off a little table and directing them into places the opponent will find it hard to hit them back. From watching this anime I picked up that there are a number of styles of holding the racket (e.g. 'penhold grip' and 'shakehand') and approaches to hitting the ball (e.g. 'chopping'). A lot of this pretty much went over my head, but honestly it didn't matter, since the narrative significance was pretty much always evident.

Compared to basketball, though, ping-pong is a pretty tricky sport to make visually interesting! Sure, you have the players running to and fro, and that can lead to some interesting poses, but how do you get the drama and tension into this?

Ping-pong additionally is all 2D, it doesn't have the sort of resources that Toei could throw at making the best looking 3DCG basketball game ever. It is limited to a TV-feasible drawing count. So it has to make use of clever limited-animation tricks to get the most impact out of fewest drawings.

Let's take an example sequence from episode 3. A minor character is about to get his ass kicked by Tsukimoto. Tsukimoto is something of a pingpong prodigy, and yet he is very emotionally closed-off and even standoffish; he doesn't particularly seem to like the game very much, and doesn't particularly feel inclined to flex on other players and get into the status games. But other players, like Wenge, have heard about him and want to see what he's got.

First we have the setup. Other characters are observing and discussing the game. Since ping-pong tends to involve very rapid exchanges, it can follow the classic shōnen model where there's a lot of talking, flashy fight sequence, more talking...

The cut happens in two steps, maintaining the vertical dividing line. This approach to cutting is used a lot in Ping-Pong, and it's quite a creative way to keep visual interest when it's using a lot of largely static shots. The panel on the right is more animated than the panel on the left, a naturalistic depiction of bouncing the ball off the table.

Things start moving faster here. A rapid pan on the image on the left disguises the fact that this anticipation pose is actually not moving at all. This then goes into a rapid, explosive moment as this guy serves.

The final pose is held for a couple of seconds while the voiceover line discussing his intended move finishes. This sort of elasticity of time is a very Osamu Dezaki type of move - it's something that Hayao Miyazaki and Isao Takahata actually really disliked.

A sound effect hits as Tsukimoto appears on the right in silhouette, anticipating his reaction, and setting up the next shot which leaves the split picture and hides the background for just a moment, as if to put us in Tsukimoto's shoes: he only sees the ball.

Tsukimoto follows through and holds this pose - the ball is the only thing moving here. The ball moves mainly on 2s while Tsukimoto moves on 3s and 2s, and he and the ball move on alternating frames. He holds the pose as the ball zips off to the right (bouncing off the corner of the table), with a speed lines-like effect. At the end of the shot, the ball freezes in the air for the moment while the sound echoes.

The actual table-tennis round lasts just seconds, and the drawing count involved is pretty minimal, but it does a lot with those drawings.

We go back to voiceovers and reactions in the next few shots, returning to the split video as Tsukimoto's opponent thinks about how he'd really rather be at the beach...

Often, these comic-like compositions will change one panel at a time, and while one panel is animated another panel will be still, naturally moving your eyes across the screen. It is an approach similar to some experiments I've seen in 'animated comics' viewed in a web browser, where the panels do not appear all at once, but enter with some animation.

So this is the sort of animation technique that Ping Pong uses. It's effective! Elsewhere the cuts are used in a less direct, continuity-editing way and more in a juxtaposition/montage way. For example, Wenge's desire to return to China is symbolised by match cutting/fading to shots of an aeroplane.

And there is a recurring image, which I'm sure will be expanded on, of Tsukimoto hiding in a cupboard and wishing for a tokusatsu hero to come save him from his isolation. As Tsukimoto's feelings about himself change, the toku hero is replaced by a robot. At this points it starts to feel like an outright Ikuhara anime.

There is occasionally a little bit of CG, mainly when Tsukimoto uses a different type of racket surface, and the way the ball and racket make contact is the crucial thing that the shot is trying to convey...

It gets the job done, but I'm glad they stuck with 2D for most of it.

So I went in the first time expecting like, crazy elaborate sakuga - and to be fair, the OP, animated by none other than Shinya Ohira, delivers on that front - but if anything what I've seen so far in Ping-Pong is actually a triumph of storyboarding and limited animation techniques. I think back then I didn't have the eyes to appreciate it in the same way.

OK, that's the film nerd stuff, but what about the story? Ping Pong follows two school friends, Makoto Tsukimoto aka "Smile" (right), and Yutaka Hoshino aka "Peco" (left). Smile is defined by a flat affect and a standoffish persona. He's just going through the motions. He's very good at ping-pong, but to him it's just a way to pass time, and he's scornful about the idea of caring all that much about it. Much like Shinji with his casette player, Tsukimoto is pretty much always staring at a handheld games console rather than make eye contact with anyone.

Peco on the other hand is the more childish one - playful, kinda arrogant, very much an 'emotions on his sleeve' kinda guy. He sulks when he loses and gloats when he wins, and is constantly seen with bubblegum or other kinds of candy. He provides a lot of our commentary when he chats with the other players.

日本語上手 readers probably noticed the tsuki (moon) vs hoshi (star) symbolism thing they've got going on here!

High-school table tennis in this story seems to be a rather 'tough love' kinda world. Most of these players tend to look down on those who can't meet their level. Going easy on someone is seen as weakness, or cultivating bad habits, by almost everyone. Tsukimoto doesn't play at his full potential because he isn't as invested in winning as all these weirdos, but it seems that might be starting to change...

The coach is interesting. He's an old man and fairly disdainful of the club at large, and prone to speaking English randomly with a heavy accent. But he gets excited at the prospect of getting Tsukimoto to unleash his full potential, in terms that are repeatedly metaphorically compared to romance/marriage.

And when Tsukimoto gets sick of it, he challenges him to a game, with the stakes as...

Cue Makima/Beatrice images here I guess.

Tsukimoto de facto wins when the coach collapses, but this episode marks a change of heart. He starts to think of himself as a robot - the affect of a robot replacing the affect of the toku hero in his fantasy. And in this way he does what people seem to want and plays ping pong with mechanical precision, expressed once again in visual metaphor (shot here from a cool transformation sequence)...

What if I just dissociate harder? This is gonna end well.

So it really is one of those kind of like 'ennui of being a teenager' kind of stories - c.f. say FLCL. 'Boy with complicated emotional landscape' is Yuasa bread and butter, but the particular variant here seems a little unusual for him - they tend to be a little more earnest. I'm curious to see how Tsukimoto develops.

I am definitely enjoying the arrogant Chinese player Kong Wenge. Dude's got a lot of screen presence, and while I'm sure he'll get shown up sooner or later, he makes for a very fun antagonist of sorts.

In comparison to Slam Dunk... one thing that's significantly different about table tennis is that it's an individual rather than a team sport, which means it's harder to have an ensemble cast all contributing to the protagonists' eventual victory - instead it's about a lot of individual arcs interweaving with each other, individual duels. Besides that, it does seem like it will be following a similar arc of a character in an emotional hole (grief for Ryota, depression for Tsukimoto) finding new meaning and purpose through sports - though I can't be sure how things are gonna go for Tsukimoto here!

The tone however is quite different. Even when it's silly, I feel like Slam Dunk is a very sincere story. There's little detachment or irony, or false consciousness - with perhaps the major exception of Ryota's mother, who lets her own grief and trauma get in the way of understanding her son. But ultimately 'why would you care this much about basketball' is not a question that anyone would ask in Slam Dunk. Even the judo guy in the manga who's trying to recruit Sakuragi is just as hot-blooded about his own sport of choice.

There's a difference in like, general affect about the players as well, which has something to do with the sport itself. Yeah, Sakuragi's superpower is his 'genius' ability to predict rebounds, and there is plenty of strategising in Slam Dunk - but basketball is still a sport that very much emphasises physical power, and as much as Slam Dunk will work hard to sell you on a clever trick pass, the visuals are also emphasising the speed that players are dashing, the height they're jumping, their physique. Table tennis by contrast seems to be a sport that's more about prediction and mind games.

That said it is equally just like Matsumoto's style being different from Inoue's. Now I know it's by the guy who wrote Tekkonkinkreet, a lot about this series falls into place! There's a sense of tension here, of being fundamentally at odds with the world. The autismfeels. This is reflected also in the drawings - the characters don't entirely seem comfortable in their embodiment.

So if that's what I'm getting from just three eps, I'm very excited to see what the remaining 8 have to offer. This series is probably too long to cram into Animation Night format, but we'll see...

[aluhnim]

Hello!! When you start a comic, how do you go about deciding your panelling layouts?? If this is too big of an ask for covid brain, how about your favorite song of the moment / a song that really inspires you?? I hope you feel better soon!

I was searching around for an old write up I did for some Original Character Tournament folks who were interested in my thoughts on panels and layouts. To try and answer your question, I go off of vibe now that I’ve made a LOT of comics. However, as much as it doesn’t seem like it at times, I do typically stay as “conventional” as possible to make sure my readers are still following the plot. I make a lot of adjustments along the way. Smarter layouts allow me to draw less, and drawing less is better for me in the long run! It’ll allow me to put more time in other places of the comic.

Anyway, here’s my write up back in the day that’ll hopefully answer some comic drafting questions!

More conventional paneling is a necessary stepping stone because you know your reader won’t get lost and the structure will have you more focused on flow and pacing. It seems remarkably easy to do comics with more “static” or traditional panel layouts but they work for a reason. There’s no real need to break out of something that works, unless you want to! Breaking out of the structure can really add some OOMPH to your important pages.

Some tips, note that these have been my preferences and some definitions don’t quite match their descriptors.

Bleed

I consider open panels or panels that stretch out beyond the edge of the page to be considered bleeds. They’re simple ways to make you feel like your not just sticking within your margins and making your page feel less static without much extra effort. Manga does this quite often, and Western American comics, especially during action packed moments or large splashes.

Some examples of things bleeds can do:

- They can also be used as transitions between pages (first panel bleeding in, last panel bleeding out).

- They can be used to interrupt or add a beat to a moment. Although the example below is mostly bleeds, you can see the one full panel at the bottom stands out because it’s not like the others. A subtle beat.

- They can also just be used to extend a panel to make it bigger. That seems obvious, but larger panels do make people spend a bit more time on them, regardless if there is text or not. Though, “more time” means probably several milliseconds or even a few seconds more than usual.

- Collaging with a bleed is a really great way to think beyond panels and open the space. You will be spending more time thinking of how much you can cram in along with the flow of how your text is going to lead through a series of images.

- Removing panel borders can really open a space and allow for more room without having to go above and beyond the ideas of comics and panels. (sorry, gale galligan is just good)

Gutters

The space between panels is almost just as important as the panel itself. That’s where readers and inferring actions and time. You can only control so much of what the reader is doing between their eye shifting between panels, which is why composition within panels and clarity are so important.

Gutters can also be played with! A simple example is changing your gutters from white to all black. It can be a subtle shift in time, a transition to a new space.

Even the amount of space between panels leaves an idea of time! I think webtoons/manhwa really work well with the gutter space, leaving you to physically scroll and feel the effects of time passing with the amount of empty space you encounter.

It’s important to understand that the gutter has a lot more to do with reader imagination, and your goal is to have them understand that the next panel is somehow plausible.

THIS SCENE EMFIELDS DID IS VERY FUCKING GOOD. TIME, SPACE, GO OOOOOOFFFF KING

Panels themselves can be a part story!

This one is a difficult thing to write for, since I feel like there isn’t many examples out there. There are very structural examples of panels out there, like Watchman. While the 9 panel grid was intentional, it also was likely the only way to deal with Alan Moore’s script effectively without missing details. The panels themselves don’t ENHANCE the story, but a means to an end.

But it’s also an incredibly good example of how conventional comics paneling can still be effective, especially when you start breaking that mold just a little bit.

But then you have comics like M. Dean’s “Baby fat”. Where the comic paneling itself never strays from its original structure, but is indicative of the story itself, representing tiles, mirrors, patterns.

Or Robert Hunter’s “The New Ghost” which he uses circular motifs and has circular panels representing the telescopes sight line.

Predicting Reader Navigation

These are my rules of thumb when doing general sight reading panel by panel.

1. Text is what people gravitate to first. It’s the context needed to approach the next panel.

2. Faces are next, this provides context to what the subject is feeling.

3. Familiar people/animals/objects and SFX.

4. Everything else!

This is an example of sight reading notes I gave to my friend Holocene when we were collaborating.

[likesdoodling]

:D:D:D

Reads manga style/right to left not left to right. :D

This is an amalgamation of a pre-existing shoujo manga, (A Sign of Affection) and Ascendance of a Bookworm. Since as you can probably see, I replaced the main characters, (Yuki and Itsuomi) with Rozemyne and Ferdinand. I'm kinda trying to 'study' manga layouts- (*cough- great excuse for reading copious amounts of manga *cough) so I tried using a few pages as reference to see what the composition was like and all that. This is my Shoujo example. I've got some half-finished Shonen ones as well, but this was the first one I got on to finishing since action shots are not my strong point. Even if I have the appropriate reference.

And no, that last picture was not in A Sign of Affection, I just have a certain inability to draw anything completely seriously so I couldn't help myself. It was also a case of-

Would Ferdinand and Rozemyne actually act like that? I mean... I dunno if they would, but if it was someone else's misinterpretation-

Which is where Hannelore came in. Because I can definitely imagine her fangirling on the sidelines.

Anyway.

This took way longer than I thought it would, (Random insert- I HATE drawing Ferdinand's profile. It is so HARD to draw!! >:/ Doable, but it is not one of my favourite things. That's for sure) but it was worth it. I think. Looks cool anyway.

:D

[ritornello]

since i can't answer myself so well, what would you say are asada nemui's distinctive storytelling traits and on a personal matter if you'd like what makes you like her stories? not so much tropes but running themes, art and such. i hope it's not too heavy of a question and thanks ^_^

Hi, this is a great question. For anyone with the patience to read all this I think it might help explain what makes Asada Nemui such an intriguing manga artist. (especially without the "it's because X reminded me of Y! - type analysis that occurs very frequently in english fandom communities)

There's a lot of images in this post, but it's not too spoiler-ish.

Comments about art

The first aspect of Asada's art I would want to praise endlessly are the page layouts. Dear, My God was one of the first stories I read by her and the flow of the panels is what really stuck out to me. I like using this sequence of pages as an example - can you guess what's going on?

I removed all of the dialogue and SFX, and it's so well laid out that the sight-to-panel direction, background design and expressions of the characters are enough to understand what's happening. It almost feels like you're looking at a scene from a movie or storyboard.

Text version:

While reading The Sound of the Waves, a page describing the plot of a writer's story more or less summarizes Asada's layout style. It generally begins with an establishing shot before laying out the rest of the scene, which with a longer story may take a few more pages to conclude.

The divisions of pages seems to average around four to seven panels, and pages with three or fewer panels show up very sparingly - likely saved for more impactful scenes.

(I'll just take a second here to add how much I love that she generally sticks to one shade of screentone. Limiting the palette to just three values is a great way to create shadows and dramatic lighting effects!)

Asada's direction is very focused on telling a story - there is always some type of visual cue that the scene is actively present and happening in front of us, the readers. I like this continuity compared to a series that might have excessive headshots or pages of flashbacks during a scene with a lot of action.

One of my favorite scenes in Sleeping Dead is in the second volume, when Mamiya is out in his van and attempting to construct a conversation. It fills an entire page, but his entire monologue could have been condensed into one "thinking" panel.

It doesn't necessarily look bad like if it were like this, but Asada intentionally uses the entire page to emphasize Mamiya's expressions, his awkwardness as he slowly loses confidence in himself. (Plus he's actively driving and looking at the road.) I like that this is a very private scene that reveals the inner character he tries to hide during the majority of the first volume.

I also like that she understands the importance of a readable layout enough to redraw areas that might be confusing to look at, like this one from the magazine version of Sleeping Dead (left side) :

In the last panel it's difficult to tell who's talking, because there are four detached bubbles and you can't see Sada or Mamiya. I wasn't sure if Sada was talking in the first bubble since it's directly below him, but the second seemed like Mamiya since it's drawn so awkwardly. For the paperback release she added a line to connect the two bubbles - obviously it's Mamiya saying both and becoming nervous as he brings up the possibility of having more sexual activities with Sada.

If you noticed the changes in the other panels of that page it also goes into her tendency to do redraws. Some of them look quite different after they've been changed - from the series I've read I noticed major redrawing for Dear, My God, the older short stories republished in Ai, Sei, and even Takatora and the Omegas (though Asada credited changes in that one to the fact that she's now working 100% digitally).

My opinion for these is kind of mixed, sometimes they do look better and sometimes I prefer her original style. This one from Dean My Love that appears in Ai, Sei is a crime lol.

There was a two-volume manga called Mangaka Gohan Nishi (Breakfast, Lunch, Dinner and Comic Artists) published in 2015, and it has one page comics by mangaka discussing food they eat. Asada appears in the second volume and her page mentions watching movies.

(basically it's about being bad at / injured by stovetop cooking so she prefers the safety of the microwave. But in the unidentified movie the characters make an explosive device with a microwave…)

I would undoubtedly say films are a large influence to her, and I've caught some parallels/references in her work, but it's kind of a disservice to only point out similarities in characters or genre tropes rather than her skill as an artist and storyteller.

During the last couple years Asada's also been fairly active on Twitter where she shares concept art and extra comics that add more to what she was limited to write in the published works.

For Takatora she's even been live-streamed the planning and inking of its (as of now) upcoming chapter on Pixiv Sketch. The series already has over two dozen pages of extra content judging by a numbered page she shared on Twitter.

Overall I appreciate that on top of having a high output she seems to care a lot about the quality of content her readers are getting. Not every artist makes redraws for their series on top of doing multiple serializations and lots of fanart/doujin content.

(And she has made a lot of fanart and doujinshi. For 10+ years.)

Comments about storytelling

I'm probably going to sound more rambly here, because I'm not a writer or a critic. Regardless of which series I enjoyed or disliked, I think most of them have an element of pushing boundaries in BL manga.

As one Japanese reviewer said when commenting about Sleeping Dead - Asada's manga are the type you want to recommend anyone to read...except you can't.

I think it goes without saying that the focus of sex in her manga can be a barrier, but there is enough range in her work that a reader (with some help) would be able to find a story with an amount of sexual content they'd be comfortable with. I could definitely see Asada working on more non-BL titles like The Swerve, Yoi and A Friend's Funeral, but to be blunt...she seems to really enjoy drawing men having sex.

Boundary-pushing can be apparent in most of her manga, especially when it starts as early as the first chapter. In the least extreme variation, her titles like Sleeping Dead and Call feature somewhat jarring love interests - middle-aged, sexually awkward men that are unconventionally designed compared to other BL love interests.

When the second volume of Sleeping Dead was nominated a Chil-Chil award for its story, Asada shared this illustration of Mamiya in a boxing ring. I love to imagine it as him squaring off with the much more handsome and less follicly-challenged ukes of the other nominated series.

If you check out her earlier series there are a few subjects considered taboo to look at. Sexual violence occurs pretty frequently. Surprisingly (or not, if you've been around long enough), it's not even rape that's considered risky subject matter in BL magazines.

According to a recent interview with Chil-Chil, Asada originally planned to publish Takatora and the Omegas with a different publisher (my guess is Shodensha, since they serialized My Little Inferno in OnBlue), but its inclusion of sexual health topics was considered too extreme:

[Interview translation credit goes to Ikari of Bottom of the Sea Scans, which currently scanlates Takatora and the Omegas.]

Thanks to Canna being willing to publish her more explicit story ideas, we might be able to see how far she planned to go with Takatora. The published chapters have already broached subjects including hysterectomies, abortion and sexual autonomy. I think this situation with Takatora has parallels to the struggles female shoujo mangaka faced in the early decades of manga publishing for girls.

The magazine Canna tends to serialize BL stories that include elements of science fiction and fantasy, which I think has made it a place where artists like Asada can have less restriction in their storytelling.

But...I don't want to praise Asada just for tackling difficult topics. Going back to the comments about page design, there's a huge focus on dialogue. Characters are frequently conversing and making eye contact with each other. She's amazing at writing characters with unlikable traits that are still enjoyable to read about, or are paired with a partner that helps balance out, or even tolerates their faults.

I think it can be easy to drop a series if it has unlikable characters, but she tends to put them in situations that question their ideologies, and we get to see how they change over the course of the story. Even Asada commented that she's not a huge fan of how the protagonist of Takatora and the Omegas acts:

Takatora could wind up being one of the most extreme examples of an unlikable protagonist, but we'll get to see if his bigoted views are changed as he's challenged by his peers, and as he offers his own support to solve their troubles.

At this point I totally got lost in the Takatora sauce, but other little aspects I love about her manga are the humorous moments, the sometimes getting too over-her-head writing, and endings that can be unexpectedly gut-punching yet written in a way that's the most grounded in reality. And in Sleeping Dead's case, immediately followed by a whiplash of silly extras.

I hope that with Takatora and Yoi - which seemed to have planned out for a while - Asada can continue to do her own thing, because I think it's a much better creative output to make whatever the hell you want instead of conforming to the preferences of the publishers.

In conclusion: