#number one motivation to learn japanese: so i can read japanese artists' comics

[zealina]

i really need to learn some goddamn japanese since all the best comics and artists are strictly in japanese. i've currently resorted to downloading every pic from pinterest and having my phone translate it to broken english

I KEEP FINDING THIS ITADORI WITH THAT RED SHEET ON PINTEREST SOMEONE TELL ME WHAT THIS IS ABOUT PLEASE 🙏🙏🙏

[break-slash]

Puzzleship JP & KR Fancomic Recommendation List

UPDATE (19-12-2020): Added two more artists and two more titles on the Japanese lists!

I don’t consider myself as someone very tidy and organized, but I just like making lists of the things I love, somehow. Hence this post. I haven’t been in the fandom for long but I thought I’d share some of my favorites primarily from two sites: pixiv and postype. Most of the postype ones are behind paywall, and I will mark them differently.

Some of my favorites come from the same artists, so I’ll also link their pixiv profile on top of my favorite work of them.

(I actually bookmarked a lot and picking them isn’t an easy task, so I will update this step by step. If you see only a link of an artist, that’s the reason, but I can guarantee you will love their works! Feel free to recommend me yours through reblogs or DM as well!)

Japanese

Artist: CYHGM

She is a Chinese and is more active on Weibo (she posted tons of puzzleship there, but my Mandarin is beyond rusty so I could only cry in despair lmao), but she has two fancomics that I absolutely adore of. Those two mentioned fancomics are:

The Past and The Future. You can check my translation for this one here. It tells about Atem who gets transported to 3000 years later before his coronation, and that’s where he met post-canon!Yugi. Just... everything about this comic is so wonderful. I teared up at the last page, not gonna lie ;_;

The Pharaoh and The Fairy: An Ancient Egypt-slash-fantasy AU featuring the S0/TOEI casts. The fairy Yugi was saved by Atem, and it’s an obligatory for fairies to grant their savior’s wishes. However, Atem doesn’t exactly have something he wants of, and this confuses Yugi on how he should repay him back. Pure undiluted sugar, and fairy!Yugi is just so cute.

Artist: Fushitas

Arguably one of the most popular Puzzleship fanartists in the JP fandom (look at their number of followers on Twitter, man), but maybe it’s also due to the fact they were in AoT fandom too. They’re mostly active on Twitter, and if you also watch Zexal, they draw tons of Yuma-centric pairings too. They have released lots of books, and their prices on the reseller sites are... well, let’s just say, unbelievable. Just to show how famous they are. 

From everlasting to everlasting: Set after DSOD. A mysterious figure appears in front of Atem, claiming to be his queen. Everyone in the after life somehow acknowledges this person, which makes him even more confused because he’s the only one unaware of this. On the living realm, Yugi who is on the way to his home got hit by a truck (isekai much??) and when he woke up, he suddenly plays the role of Atem’s queen. I’ve always adored Fushitas’ drawing, and this is no exception. The story is pretty simple, but is still good! The ending of this comic is everything I’ve always wanted from the canon lol. 

The King’s Guest: Ancient Egypt AU. The councils are starting to get worried because Atem shows no interest in marrying someone, so Shimon opens up a “chance” sort of for civilians to become “someone for the Pharaoh to talk with”. The civilian Yugi takes this chance right off the bat, and stuff happens? This one is just so sweet and the misunderstanding later in the story kinda cracks me up. I really love the way they build the two’s chemistry in here.

Artist: usi 

They only draw two puzzleship fancomics, but both are so good and explores the themes I’ve loved from the pairing.

The Lotus’ Devil: Set post-canon with a flashback. It tells about Yugi’s regret in the past where he wanted to show Atem a small pool supposed to be full of lotus flower only to arrive seeing them not blooming. Fast forward to the post-canon, he found out that there’s actually a monster residing on that pool. I really, really loved the ending scene of this one.

Who’s The Detestable, Fortunate Guy Here: I think this is set sometime in the canon story, although the exact timing is unclear. It’s a short comic of Yugi asking Atem to pretend to be his date and go on a “dating practice”. A very pleasant hurt-and-comfort kind of story, and who doesn’t love a story of them dating anyways? :”D

Artist: Houzuki Anzu

She doesn’t draw much YGO, but she has some Arc-V and 5D’s fanarts too if you watch the series! 

Hourglass: Sets after the Memory World arc. Yugi keeps hearing a strange sound inside his mind, and he finds out there’s a huge hourglass standing there, guarded by the will of Millenium Puzzle. Apparently, the hourglass is linked to Atem’s remaining time in the living realm? Anyways, the ending of this comic might look like a cliffhanger, but I personally think it isn’t. I love the theme this comic picks to explore and the way it is presented.

Present: Same setting with Hourglass, but this one focuses more on Atem sorting out his feelings about the Ceremonial Duel and what he has learned from Yugi in general. It’s a very nice extra detail that the canon slightly lacks of, and I just love... bittersweet stuff in general haha.

Artist: Chiriko

Are you the type who wants puzzleship to be full of happiness and fluff and nothing else? Well, she has a number of comics to fill that need! I actually love all of her works, but if I have to pick, these two are my favorite:

...Don’t Ever Leave Me Again: A short story about Yugi having a nightmare of where he was stuck in the fire accident at Otogi’s store. Well... this isn’t a fluff sort of, but it’s... a happy ending still? /shot

[Untitled]: A dialogue-less comic, but this is the sort of post-canon what-if that I really, really like. Atem stroking Yugi’s face while sleeping is just... so soft man....

Artist: Komori Nea

Their art style was one of those that’s very noticeable and has a certain charm on it. They are pretty active on Twitter, and even draws puzzle comics once in a while that haven’t been uploaded to pixiv (which is why I recommend you to check their twitter gallery too haha)

The Soul Stays Awake: Post!DSOD. Atem comes back from afterlife in hoping that Yugi would be as happy as he is, but months after, Atem’s existence still hasn’t been registered on Yugi’s life just yet. Another post!DSOD take that I like which involves the fear of another farewell and uncertainty, but this is a good hurt-and-comfort. I swear, it’ll hurt you just... for a while. :”)

The Attack’s Aim: Set during the canon series. A short comic mostly portraying Yugi’s hidden strength but also the tenacity of duelist that is not only targeted toward the opponent, but also to Atem, without the person actually noticing it. The last page of this one is so... soft and gentle I had to put it into this list.

Artist: caf

Often draw with S0/TOEI style, characters and characterization in mind. Their coloring in illustrations is so soft, plus artists who specialize in S0/TOEI style can’t be found so easily. Their comic style is not a manga-like one and they write the dialogues with handwriting, but if you can read hiragana and write and understand how kanji works (so you can write it on translation machine), their comics are easy to understand!

magenta: S0/TOEI AU where Yugi and Atem are two separate person. A short comic of Yugi lying under the rain as Atem searches for his whereabouts. I really love the way they portray the rain and the atmosphere surrounding the scene. Or maybe I’m just biased with rains in general, ahahaha.

Yuugi and Mao’s Stay Home: Same AU as above. Our two boys has to face the same shit we do IRL in this comic, which is quarantine. Atem offers to cook something for Yugi since he can’t eat outside. You love seeing Yugi eating stuff? This is a perfect comic for y’all. 

Artist: Kkyut

Artist: Kayu(i)

Others:

Gemini: As Atem comes back to the living world, Yugi faces the dilemma of having being separated by “his other self” physically and mentally. A short comic, but the lines the artist used are so... beautiful. Like, the way they describe Yugi’s loneliness?? Just hits the park so much. 

Until The Hourglass Runs Out: Set after the Memory World Arc. As their farewell day goes closer, Yugi decides to give Atem a full control of his body at school so he could spend his time with Jounouchi and the gang more. However, things don’t go as smooth as Yugi had expected. If you like that little teeny weeny pain before the Ceremonial Duel, this comic perfectly suits the taste. 

see you sometime: Post-canon. Mahaad offers Atem a chance to meet Yugi in the living realm one more time, but with several conditions. Firstly, he could only stay for a day at maximum. Secondly, Yugi won’t be able to remember who he spent his time with after Atem hangs out with him. Thirdly, Yugi will not be able to “recognize” this Atem; he will only be registered in Yugi’s mind as a new classmate. A bittersweet comic in whole, but seeing the two having fun like a normal teenager would just makes me grin.

After The Rain: A dialogue-less comic, so everyone would be able to read this right away. A short comic of the two, but still very cute and wholesome!

The Tropics of Horus: Post!DSOD, Atem has to chase Kisara who lingers around Kaiba’s soul and he needs Yugi’s help to bring Kisara back to afterlife, but he has his own ulterior motive. This manga is so dialogue-heavy and might be hard to dissect especially if you don’t understand JP grammar and context, but the time spent trying to understand the meaning behind every words will be worth it. That much I guarantee. Just... everything about this comic, and how Atem’s “ulterior motive” connects to our boys’ adventure in canon series are so well planned. You can also purchase the R18 version in a form of the book here (toranoana)

Christmas Day: S0/TOEI puzzleship hint (dark puzzle???). There’s something in store for Yugi in Christmas, but this one might surprise Yugi a lot. It’s not that the prompt of “Atem gets separated from Yugi temporarily” is uncommon, but it is still a sweet one and makes you smile throughout the pages. 

Korean

All titles mentioned here are not free unless mentioned otherwise. Also I don’t understand Korean except being able to read Yugi and Atem’s name, so my story interpretation might be wrong. If you understand Korean, I’d really love for you input! ;_; 

You can check out on how to buy comics from postype here

Yugi’s 2020 Birthday Anthology: Rain and After End

This is an anthology consisting of four titles, but they share the same (or similar) setting where Atem is reincarnated, but he doesn’t remember his past (or has not yet, depending on how the story portrays it). Some are age-gap (adult!Yugi and high school student!Atem), so you might want to consider that if it’s not your cup of tea.

To Like Someone is to...: Age-gap setting. Mostly tells about how Yugi deals with his feeling as the reincarnated Atem in front of him turns out to have a feeling on him. I like how the story’s conclusion is that Yugi will sort it out slowly while also teasing Atem how he’s “too early” to date Yugi w.

In A Circle: A story about how the two met through an online chess game. Iirc Yugi works in a game company and Atem is sort of a famous e-sports player in this setting. There’s a lot of dialogue in this one and the app sometimes can’t process them very well, but I liked what I can understand from it! not very convincing is it haha i’m sorry i shouldn’t have done this

Familiarity: Age-gap setting, where Yugi becomes Atem’s caretaker. The comic mostly focuses on how Atem notices how kind (or too kind) Yugi is sometimes, but there are times where he feels distant. The plot where Atem gets into a fight with the other kid in his school because the kid mocks Yugi, and how Yugi just... accepts it even when Atem doesn’t want to say his reason of punching the kid is just.... god... I love this kind of age-gap setting like this I guess ;_;

Touchdown: Age-gap setting, but Atem is older in here (university student). The two goes to Atem’s university festival and they think about their own feeling when they got separated. On their way to drop Atem off, he confesses to Yugi, but Yugi is still unsure on his overlapping feeling between the reincarnated Atem and the Atem he knows. Make sure you play Motohiro Hata’s Rain and Aimer’s After Rain during the car scene to make the “rain” mood works even better :”)

Others:

Try For Point: A continuation of Touchdown, where Atem (like, the one from the past) visits Yugi in his dream and helps Yugi in sorting out is his feeling toward his reincarnated self. Atem’s advice is so sweet and there’s one certain line from this comic that I remember very deeply - there’s a part where he says, “If you don’t pull out the card, you won’t know what card it is, right?” to help Yugi clearing out his hesitancy ;w; at this point, I curse myself for not being able to understand Korean

[nyrator]

another long vent post about depression/anxiety

extremely depressed tonight

first made the mistake of driving myself to the grocery store at 6pm, first I had to try scraping the ice off the windshield with nothing but a broom and bare hands, then driving itself was nightmareish, the car feels like a death trap to me, very loose and sloppy compared to my last car, so loud and uncomfortable with no audible music to calm my nerves. My eyes have worsened to the point where I can’t see anything at night- glare takes up my whole vision, even with anti-glare shades. I was driving well below the speed limit the entire time and still almost hit three pedestrians who were all recklessly out on the roads in all black for whatever reason. My nerves are completely shot from it, my chest feels like I’m in a vice and can’t breathe, my eyes are wide open and hunched over the steering wheel, and my body feels both like I’m about to wet myself at any moment and that I’m too stiff/tense/frozen to function as a human at all, it’s that fight-or-flight response at its extreme. Meanwhile, my skin must be weak- my knuckles bleed when driving, and my wrists bled just from carrying in bags of groceries.

then getting home and just dealing with personal drama of someone I know who is so depressed and self destructive and too smart to reason with, who refuses/is unable to seek professional help, who just doesn’t understand or just can’t help venting to me nonstop, no matter how much I beg them not to over and over- their life is so terrible that suicide seems like the only option to them, and I don’t want them to do so, but I can’t keep suffering like this either and I feel like the only thing preventing them from doing so, as poor a job as I do as a human being anyway. But I can’t help them if they can’t help themselves, even if they were just ate a bit better, or just had a journal or someone anonymous they could talk to, but it seems inescapable and impossible to change anything and all we do is argue over it until I snap at them to leave me alone. That person is probably reading this right now and probably hating it, but I doubt anyone on this site even knows who they are.

Tuesday morning, I couldn’t sleep at all from anxiety- it was so severe and inescapable, I laid in bed for four hours feeling like I was dying until I was finally able to sleep for two hours. I can’t seem to stay asleep longer than two hours anymore. Was supposed to hang out with friends that day, but between lack of sleep, depression, and my absolute terror at driving in a snowstorm, I ended up just staying home.

Anxiety has gotten so bad again. I know a lot of how the mechanics work behind it, I know a lot of pains are from tension and lack of breathing. But my old coping mechanisms don’t work anymore. I can focus on breathing for several minutes straight and then fall right back into suffocating. Music, counting things, meditating, none of it helps anymore.

One way to describe the feeling of anxiety- it’s kind of like when you fall asleep on your arm, and you feel all the blood rushing back into it and that tingling sensation. Imagine that, maybe a bit less, but throughout your entire body (especially chest), your body is stiff and not numb, and your entire body is vibrating or shivering/shaking or something.

I still spend 16+ hours laying in bed every single day. When I got home from shopping, the walking around (and the stress of driving) was enough to send me straight to bed, I was so tired and weak. It’s probably why I don’t sleep properly, I’m half awake in bed all the time, what need is there for sleep

I have mail I haven’t opened, taxes I still have to do, messes to clean, and don’t care for any of it. Can’t even talk about some things I’ve been doing to myself out of spite or general depression, the way I’ve been abusing. I promise to try not to do anything too crazy or directly harmful, but even then I worry about slipping up- I tried one thing I shouldn’t talk about, which wasn’t too serious, but still seriously concerning how easy it was to try doing

still haven’t contacted a therapist, my fear of calling someone is so strong I can’t overcome it, especially not after just waking up. Talked to some friends, some agree that I should, at least one thinks it’s a waste of time and money- up to $125 per session to just get a glorified phone call thanks to covid restrictions. I just don’t see the point if I’m still stuck in my apartment at my computer, especially if I have an internet addiction already.

The lack of doing anything is driving me insane, I think. I’ve played four single player games in 2020- ACNH, KH MoM, Panel de Pon, and Picross. In terms of things watched on my own, probably just Japan Sinks and whatever else was on Netflix the few months I had it. Don’t feel motivated to play or watch anything anymore, nothing seems interesting, and mostly just do things with friends if at all

Even ACNH, the game I play the most, I barely do anything in it- mostly just get new items from stores, that’s it. My island decorating has come to a hard halt, mostly because I barely have any furniture I’d like to embellish it with, and mainly because I have no ideas to layout most of it

I want to create, but don’t have the energy to make anything at all. Rotten Nyan is still my current goal, but anxiety has made it next to impossible to work on. I’ve tried several times the past few weeks, all met with failure- the anxiety’s too much, half the time I don’t even know what’s causing it, but my body just gets too tense and cramped without even doing anything, and I just can’t breathe at all while working on it.

Thought about making an omake comic for it, then realized what a terrible idea it was, and how hard it is to draw comics in general. Or anything in general. Wrote down the entire comic while laying in bed one day, went to draw it, was unable to, tried making it a yonkoma, gave up, and felt sick thinking of all the gross things in it that I just made a vent description of Middle Lave and just posted that to the RN tumblr instead.

I can’t think of any ideas, I feel like my art has regressed- I’ve taken more shortcuts for the sake of my hands tensing so fast from anxiety, and I’ve gotten decent at drawing middle Lave I feel, but anything besides a character standing is impossible for me- any environments or character interactions that I’d love to do just feel impossible, let alone my inability to write good ones. Anything I try to think of writing-wise always ends up the same gross content that burned into my memories that I just can’t feel comfortable talking about much at all, nor do I think it’s content people want to see at all.

There’s a lot of detailed kind of art I’d like to do. I kind of want to loosen my restrictions on myself and just draw whatever suffering I feel like, maybe once I use the RN twitter more I might get a little more courage to do so. I see many artists draw detailed scenes in single images, and no matter how hard I try, I just can’t capture that feeling.

Part of me feels torn about it being an autobiography for people to relate to, and being a suffering experience for people to find some weird enjoyment out of. I feel like I’ve lost sight of what it was originally meant to be and now just enjoy “bullying” Middle Lave half the time I guess, but unfortunately for me, bullying makes me feel like vomiting and is hard to draw consistently- maybe I’m too nice. I don’t know, I’m just rambling at this point. The comic is still laid out and just meant to explore the life of Lave, but it’s just so hard to work on.

In terms of other things, I have no idea what to do

Vtuber/streaming? Hate my voice, can’t focus on learning what I need for it in terms of rigging and texturing models. I only know the basics of making 3D things and nothing else.

Console art? I already designed all the ones I’m mainly interested in, but like I mentioned before, can’t think of any character interactions at all that I feel like drawing.

Making a game? I know 2k3 well enough to make anything in it event-wise, though never got over my map failings, and I can’t commit to anything long-term. Godot or another program, or programming in general? Good luck.

I just want to make something, work on a project without losing steam or letting anxiety prevent me from learning. Can’t focus on anything long enough to learn it- Japanese, making a game, programming, a new hobby, anything. I just don’t have the drive to do anything and will give up anything I even try to start, so what’s the point in even trying anything. I have books I haven’t read that I’ve been meaning to read for years, and still don’t have an ounce of energy to want to even organize them on their shelf, let alone open it

At the very least, I got my first big commission (second one ever), designing an OC for someone, and it’s going well, though tonight I’ve lost steam to finish it, and I hope I can get it back tomorrow to try to finalize it.

I’ve mentioned it before, but I really wish I just had someone guide me with art- I miss doing those 30 day challenge kind of things, or “send a number/emoji” kind of asks for OCs, but tumblr’s so inactive that I don’t see them on my dash anymore, and don’t know how to even look for them, especially not on sites like twitter these days. Though, the problem is, no one knows exactly what I like, and I feel awful letting people down if they ask for something I don’t want to draw

I can’t focus on exercise long term, and I’m so out of practice that exhaustion is too strong to beat. I’ve been trying to walk up and down on a step stool for exercise to get me back into basic movement, but even that’s too tiring. Want to do it while watching something, then I realize, I don’t watch anything at all, not even youtube, just an occasional artist stream that I mainly chat with rather than watch

I feel like I’m going to collapse if I turn or move too suddenly, and my eyes are absolutely terrible- glasses are okay, but without them I’m completely blind now- not just blind, but it’s like my eyes see at two different angles sometimes, like one is slanted or something, very disorientating.

It’s 7:30AM, and no desire to sleep at all. Terrified of laying in bed and letting anxiety take over me again. Part of me wants to become completely nocturnal and just avoid everyone during the day and just respond to messages in the AM hours, just wake up at midnight each day and avoid dealing with people. Go to sleep when everyone starts to get active and just isolate myself entirely from society.

I feel like I exist with no purpose whatsoever, and it’s driving me insane- not that life is meant to have a purpose, but I could at least be doing something more than laying in bed all day every day for a year

[dropintomanga]

On the Industry, Fans, and Piracy - My Feelings on Manga Today

This year has been quite an interesting one for anyone who’s involved in manga industry happenings with regards to piracy.

As most of you may know, an infamous manga app known as Mangarock was finally shut down this year after years of proliferating as a “legit” manga-reading app on the Apple and Google Play Stores. They finally got shut down when a Western comic artist found their work being distributed on the platform. While this was good news, there has been criticism about whether there were signs of subtle prejudice towards manga (since it’s a foreign medium) as it took a Western comic to bring things to attention.

There was also the news of Mangamura, a well-known Japanese raw scan site, and how the head honcho of the site got arrested in the Philippines this year and will face consequences for his actions. (Update: 12/21/2019 - Now Mangastream and Jaimini’s Box are out of the game with regards to scanlating popular titles)

While this is good news for people who love to support the manga industries in both Japan and overseas, things are still the same. The pirates will keep coming over and over again. I wonder when enough is enough or maybe I’m just tired of hearing the same old debate on legal vs. illegal manga.

I see multiple Twitter threads from pro-industry folks on why everyone should support buying manga. I also see threads on why manga publishers suck. They’re both right if you ask me.

Lately, I’ve been thinking about how this industry vs scanlators fight is similar to what I’ve been reading about in the mental health field recently - psychiatry vs. anti-psychiatry.

Psychiatry advocates believe that taking medicine is the best way to solve mental health problems and mental illness. They realize that things can happen in the human brain that lead to something worse. However, they think a lot of issues warrant medication when it may not be the best solution.

Anti-psychiatry advocates believes that medicine isn’t the best way to solve mental health problems and mental illness. They dislike how the mental health care system treats people with mental health problems. Yet they believe that “mental illness” doesn’t exist.

So throwing it back to manga -

The manga industry believes that supporting the industry involves purchasing their books at any costs. You buy the books, you support the mangaka drawing them. Yet the system that drives the industry is terrible. As we all know from Bakuman and tales from manga professionals, the system to become a successful mangaka involves often-poor working conditions in the form of long hours, strict deadlines, and a good amount of isolation.

Scanlators believe they are doing the manga industry a favor in providing free exposure to titles that would go undiscovered by fans. More often than not, scanlators do what they do without any care for profit. However, they tend to go a bit extreme with regards to translating certain text. Some scanlators also become a bit too egotistical for their own good and end up causing ridiculous drama among other scanlation groups over material they are technically stealing.

Tying this back all together with all regards to comparing psychiatry vs. anti-psychiatry and industry vs scanlators, there’s a third party being affected that’s ignored in both debates.

For the 1st war (psychiatry vs. anti-psychiatry), there’s not enough focus on the seriously mentally ill. The seriously mentally ill are the community suffering the most right now and present a great deal of harm to themselves and others. A 3rd party group that addresses them would utilize certain views and rejects certain views from the psychiatry and anti-psychiatry movements to help the seriously mentally ill. They are often forgotten as a lot of money goes to those whose mental health issues aren’t as bad on both sides. 

For the 2nd war (scanlations vs. legal manga), you can argue that there’s a huge crowd of fans that are willing to pay for manga as long as you give them almost everything on one platform a la Steam/Netflix at a very low price. That platform also needs to be easily accessible with little-to-no regional restrictions. There are so many fans in certain parts of the world that can’t purchase manga due to lack of access to bookstores/libraries or availability of them. I’ll put this in caps in case people don’t get it - THE WHOLE WORLD IS NOT THE UNITED STATES OR ANY OTHER NOTABLE AND PROLIFIC COUNTRY. I sometimes think certain fans that are able to buy manga forget how lucky they are.

A side note: While a huge step forward for legit digital manga, Viz’s Shonen Jump isn’t enough because not everyone likes shonen. All the other subscription services are fine, but everything’s kind of fragmented a bit compared to how Crunchyroll has almost everything anime-related (though they are going through a big streaming war that’s causing fragmentation as well).  Though to be honest, I think the scanlation community and the manga industry have to band together on one thing I think both sides can all agree on - it’s the relative value of manga compared to other forms of media in general.

To explain, I watched a video feature on the mangaka Shinichi Sakamoto, creator of Innocent and Innocent Rouge. Sakamoto goes into a discussion about manga’s value that really got me thinking. He talks about how manga is treated as “disposable” and how he tries to make his works worth keeping and remembering.

In the end of the video, Sakamoto says: “I feel manga is something that is read, then thrown away. For example, people would read a manga during their work commute and throw it away once they finish reading it. Or they would read a manga at a restaurant during lunch break. Then they would close it once the food is served and forget about it. I thought at first, manga was something that was read then thrown away. However recently, since I started to adopt my current style, I now want to make something that stays close to readers. Something that remains. It’s what currently motivates me to draw manga.

I ask myself what to do in order to make something that stays for a long time, using themes or opinions that they stay engraved in the minds of readers without being forgotten. I keep this in mind in order to leave something behind. It is what motivates me.”

The quality of manga made in Japan isn’t the best. The paper is comparable to toilet paper. If you ever browsed through a manga magazine in person, it feels like going through a super-thick newspaper. Compare that to overseas volumes of manga and it’s a world of difference. I’ll admit that publishers like Viz Media, Kodansha Comics, and Yen Press do a great job in making their printed manga high-quality albeit at a higher cost to fans.

Yet I realized that there’s a larger number of manga fans who don’t care about quality as long as what they want is accessible and cheap. That’s a big reason why scanlations have exploded and will continue to do so. Convenience is something that a lot of outside forces now push onto everyone. I frankly love print books, but I wonder what if the price of printed manga volumes reaches a certain point that makes me go “Yeah, I don’t think I can buy printed manga anymore.”

In the end of the day, even if you make it look pretty as hell and close to a luxury product, manga is still a “throw-away” item with little relative value to a lot of fans thanks to how it’s originally conceived in Japan combined with how internet culture takes advantage of what the meaning of “free stuff” is. Not everyone will find a sense of belonging with manga the same way that fans do.

There are certain folks that support purchasing manga that say things like “Wages need to be raised because they’ve stagnated” and when it comes to fans reading manga on an illegal site, their views sound like “You should buy no matter what” and/or “Just don’t buy.” I know there are those who will point to manga sales and they still aren’t exactly affordable to some fans. 20%-33% off titles with a high price point to begin with may not feel like a significant discount to someone who may not be a hardcore manga collector. Maybe it’s better to say, “You know what? Let’s just smash capitalism for ruining everyone’s lives” or better yet, “Let’s promote wage growth so that manga fans can actually purchase manga and manga artists can survive.”  

For now, let’s all be like Sakamoto and promote how valuable manga can be because appreciating the arts makes people better human beings than learning how to make a “efficient” website/software program look good for someone whose end goal is usually profit. The arts is what keeps people from turning into robots. Yes, this sounds like I’m saying “Let’s have the manga pirates keep doing what they’re doing then.” What I’m suggesting is that everyone from the top down (government, etc.) has to take charge in promotion of anything related to the arts (which manga and comics in general are a part of), not just the regular folks, as they appear to be all on-board the "let’s mindlessly consume/produce everything with ruthless efficiency” train.

I feel sympathetic towards anyone who works with on the American side of manga publishing (or anything that’s based in Japan) because Japan’s mentality on promoting their works overseas is awful. The Japanese want a level of control in how they want to be perceived outside of their own country. Compare that to a country like Korea (where K-Pop is now featured on major American TV networks), you can see how bad Japan is promoting their own brand of pop culture to the world. If you want an example, just look up Nintendo’s history of taking down anything overseas that looks to violate their principles of promoting their games.

I realize that I’m sounding like this Japanese manga creator who criticized publishers for how they handle piracy. Well, I dislike how manga publishers or professionals involved with the manga industry will shame fans for reading scanlations/raws. Almost everyone that reads scans/raws tends to be a fan of manga in general. A lot of them may not be unaware of the nature of scans (especially fans who meet mangaka in person and tell them they read them online). And even if they were aware, have you noticed how wages have stagnated for a lot of people across the world versus inflation?

Plus, how often do shame tactics work on people? They’re just as effective as most diversity training workshops hoping to change people’s bias on visible differences (spoiler alert: not very well). They never change anyone’s minds at all due to being short-term solutions that ignore the shamer’s role in perpetuating the problem. I realize changing minds takes a long time and requires a LOT of nuance (AKA not good for making immediate money), so it’s easy to focus on quick and fast.\

I also don’t like how scanlators disrespect localization efforts at times. I don’t like seeing multiple instances of swear words when most Japanese (or people in general) don’t talk like that in real life. Yes, some localization efforts are full of cringe. Appealing to a bigger array of new readers is important to having an industry thrive. Having just loyal customers isn’t enough.

Loyalty can only go so far. So many people don’t care about brands and/or will switch whenever it’s convenient to do so. There’s always a psychological disconnect between community and profit. That’s why you try to get as many new consumers as possible so they can become great word-of-mouth spokespeople for your stuff. Given how a good number of anime/manga fans stop consuming either medium after a certain age, replenishment of fans is an absolute necessity. I wish scanlators who frown at legit translators who bust their asses off to make manga accessible to a wider audience realize this.

There’s a final thing I want to address regarding the whole debate about scans and it was something I noticed at Anime NYC this year. So this year, Artists’ Alley and the Exhibit Hall were put right near each other on the same floor. In years past, they were separated via different floors or on different sections far away from one another in the same floor. I had a troubling thought and reading one convention recap reinforced it.

It’s the fact that Artists’ Alley is almost always fan works and the close proximity this time clashes with the Exhibit Hall vendors’ sale of official merchandise. There are anime industry members who dislike an arrangement like this with good reason. Bootlegs are a problem in an industry largely associated with piracy. Yet fans LOVE Artists’ Alley. Anime cons can’t just gut them to please industry folks. Supporting the fan artists at Artists’ Alley is a win-win for fans and con organizers. 

Also, some of the artists at Artists’ Alley I spoke to all read scanlations in some way, shape or form when discussing certain series. I have no damn desire to play moral police with those artists because I know they are lovable and messy people. Just enforce the golden rule - don’t be a dick in a public setting even if you have a good reason to because you will never change anyone’s views that way. 

I know some issues have to be made public, but go through proper channels first since I don’t want to see someone being labeled a mood killer without proper context in places that are supposed to be safe for fans.

Another thing - I have friends (both ‘20s and ‘30s) who work full-time jobs that read manga in not-so-legal sites. Some of them I’m very close with. I’m not ending friendships with them over the fact they may consume media differently. The one thing I can say is that even the best of the best will have questionable beliefs/do questionable things and all you can do is figure out what’s really important to you - their actions or the consequences of their actions. Don’t expect the people you idolize will think the same way you do in every thought you have. Everyone has their own closet of behaviors and thoughts that will always irk others.

So for anyone who’s confused on whose side I’m on, I’m on neither. I know the truth is a lot more complicated than what most people will tell me. I do want manga to thrive more overseas. It’s just that outside of Japan, regardless if you pay for or pirate a manga, there’s no appreciation for lifelong reading. Reading is treated as a pain than pleasure in the Western part of the world. Many anime fans are only tempted to read a manga because of how cool an anime adaptation of a certain series is or just from buzz. 

More than anything, I feel like there should be a bigger effort in promoting a sense of lifelong reading. I sometimes get jokes from corporate folks that I like to read and it’s depressing since libraries are always threatened by budget cuts. Reading books (fiction & non-fiction) has helped me processed a lot of things for my mental health. We got to do a better job in emphasizing that reading can be for fun and not just for achievement. Still, buy whatever manga you can for the artist’s sake if you really like the works (not for the publisher’s due to how I feel about capitalism sometimes). If you still want to read or prefer scans, then that’s your thing. You know, I’m glad I’m not really a pro-industry person and a pro-fan. I live in both worlds and feel like I have a balanced understanding of how people act in certain situations versus how they behave normally. I make a joke now that if anyone who works in marketing wants to really understand what their customers are like, they should go to a DMV (Department of Motor Vehicles) and see the misery there.

I guess you can say I blame Japan more than anything as I do buy what I can from the American side of things. I know the hard-working folks in the U.S. manga publishing business probably get frustrated with Japanese bureaucracy to a certain degree at times. 

Next year will be the start of a new decade after a decade of slow then fast growth in all things anime and manga. Things are going to get better and worse for anime and manga. Maybe once Luffy finally gets the One Piece treasure will manga piracy be severely hampered by then. I have some doubts because this is all reliant on what Japan will do as manga is here to stay in overseas markets. I know more Japanese manga editors have been traveling overseas to understand what’s going on outside of Japan. That’s a good start. So I just hope that the final chapter over here involves cultivating a joyful love of reading because I feel technology has to really pick up on that.

When reading really matters to everyone and takes some precedence over video in the minds of people, maybe we can see some meaningful progress in a battle where we might be fighting the wrong side(s) and/or missing a bigger part of the picture.

Regardless, it’s a fascinating and fun time to be a manga fan. I’m glad to have met many people who love and read manga regardless of how they consume it. Those experiences have provided so much value for me.

Manga may be considered “trash” in many ways, but to loosely quote a certain popular Naruto ninja, it’s at least better than giving up on the true joys of life.

Addendum (12/21/2019) - Two days after this post was made, two of the biggest manga scanlation groups on the net, Mangastream and Jaimini’s Box, decided to stop translating all Weekly Shonen Jump titles. I’m indifferent about either platform going away (or completely gone as Jaimini’s Box is still doing titles from other manga magazines). The one thing I will say is that Mangastream took advantage of the growing push for convenience in the minds of people over the last decade. I think about how much tech companies have abused “convenience” to generate unintended division and in some ways, Mangastream was like a tech company when they saw their ego being stroked by the large fanbase they were getting.

Photo Source: The Japan Times For one of my favorite takes on scanlations, read “Why Do Scanlations Persist?” from What Is Manga? There’s also this podcast from GeekNights about manga distribution in the United States which added some fuel to this post.

[scannain]

The New Music is a new Irish feature film currently in post-production. The film aims to shine a light on Young Onset Parkinson’s Disease, a rare and little known condition which affects people under fifty.

Young Parkinson’s Ireland, which was set up in 2016, suspect that there may be at least 500 undiagnosed sufferers of Young Onset Parkinson’s in the country. Sufferers who may be reluctant to come forward due to a self or socially imposed stigma as Parkinson’s Disease has been traditionally seen as a “old person’s” disease.

The film, which is written and directed by Italian native Chiara Viale, follows the struggles of Adrian, a young gifted musician , who leaves home and heads to Dublin in an attempt to deal with the news of his diagnosis. Despite this debilitating condition, Adrian (played by Dublin-born actor Cilléin McEvoy) joins a punk band as a keyboard player and rediscovers his life through music and friendship.

Filming was completed at the end of 2017 and the production team have launched a crowd-funding campaign to reach out to the public to help them fund the post-production expenses of the film – editing, sound, music, marketing and festival entries. 20% of all funds raised will go directly to Young Parkinson’s Ireland in addition to all future income from the film.

Scannain caught up with Viale to talk about about her background in film and her motivations for making The New Music

Chiara Viale- Writer/Director of The New Music

How did you originally get involved in Filmmaking? I started writing when I was very young and I have always been passionate about cinema. After finishing my BA in English in foreign language and literature I moved to Ireland and joined the Dublin Filmmakers Collective where I developed my first scripts and had my first on-set experiences. At the same time, I started developing my own independent projects: in 2016 I produced, wrote and directed my first short film Be Frank which was nominated for the Rising Star award at the Underground Cinema Awards in 2017. Also in 2017 I produced, wrote and directed the short Clown and produced the short Clear The Air  which are currently in post production.

And what brought you to Ireland? I’ve been in love with Ireland since I first visited as a teenager. After secondary school I spent a year in Dublin working as an au-pair to improve my English. I had always entertained the thought of coming back to Ireland and I finally moved to Dublin in 2015. I am in love with the creative atmosphere that can breath in this country and the extraordinary people I met along the way. I don’t believe my dreams and aspirations could find a better place than Ireland to become a reality.

Where did the core idea for The New Music originate? My approach to writing is strongly related to feelings and emotions and more often than not the concepts of my stories are born through an image, which conveys a certain feeling. The New Music is no exception: I imagined a character who is lying to himself and the people he cares about and although he knows that these lies can ruin everything he has and loves, he can’t stop. Telling the truth is simply too hard for him to handle, because it would force him to face his own fear.

I envisioned a character with an incurable illness which he hides from everyone and that is eating away at him from the inside. Then I created a starting environment for him that would completely clash with the situation he finds himself in and I imagined something to cure his fear and give him a new prospective on life. This is a film about friendship and it shows that help can often come from people who are not necessarily trying to understand, but who show a way out of suffering by simply being a good, reliable influence.

I wanted to create a story with believable characters dealing with issues that everyone experiences sooner or later in life. I wanted to paint a picture of Dublin exactly as it is right now, and how it is to live in a shared house where everyone forgets to buy toilet paper or to get lost using the Dublin map. I wanted to tell the story of all the people who are trying to make art and music here while coping with our money-controlled society.

What is your connection to Young Parkinson’s , why did you choose this particular condition? Adrian is a pianist and his talent is expressed through the use of his hands. I wanted his illness to target his ability to play and after a short research, I discovered Young Onset Parkinson’s, a rare form of Parkinson’s that affects people under the age of 50. Parkinson’s is widely considered a disease that affects the elderly, and I was surprised to learn that lots of young people all over the word are suffering from it.

At this early stage I decided that The New Music had to be about this illness and it could contribute to raise awareness and shine a light on this condition.

Together with Philip Kidd (Producer, Director of Photography, Editor) we decided to contact the Parkinson’s Association of Ireland, who put us in touch with Young Parkinson’s Ireland, with whom we’ve been working with ever since. Representatives of Young Parkinson’s Ireland read and approved the script at pre-production stage and we are currently developing the film in association and close contact with them. At the end of 2017 we started a crowdfunding campaign to cover the post-production expenses of The New Music, 20% of which is being donated to Young Parkinson’s Ireland. Furthermore, we will donate any future income of the film to this association and use the film for charity purposes.

I also have a very close personal experience with rare diseases as my father passed away in 2013 after having MSA (Multiple System Atrophy) a rare neurological disease for which, like Parkinson’s, there is no ultimate cure. In this script I dealt with feelings that my family and I experienced first hand. I also attempted to give my interpretation of what someone afflicted by an incurable disease might feel, and how the ensuing feelings and behaviours impact everyone around them. I hope that The New Music will have the power to bring people together and create a space where these issues can be discussed, as well encourage a conversation around both living and dealing with rare diseases.

Munky- Irish Punk Band

So obviously music plays a huge part in the film, can you tell me more about that? The second constitutive element of my writing has always been music. I consider it a huge source of inspiration and The New Music is fulfilling my dream of writing a story that revolves around music from beginning to end.

In the last few years I’ve been influenced a lot by punk music as a genre but mostly in terms of lifestyle and attitude. The film itself was produced with a strong DIY mindset and the narrative arc of the main character freely represents my own discovery of punk music as a form of liberation and a way to fully express myself artistically. During the writing process I’ve been influenced by bands such as Bomb The Music Industry! , The Smith Street Band, Fugazi, Black Flag, Bad Brains, The Menzingers and Bangers.

Music is the passion shared by all the main characters of the story and it permeates every scene. It firstly represents the desperation felt by Adrian, then it slowly becomes what carries him through the darkness towards the light and a new version of himself. The film shows two types of music that are usually considered opposites: classical and punk. Both play a huge roles in the film and find a way to merge together as the two diametrically different spheres of Adrian’s life find a meeting point. Grand pianos, dusty rehearsal rooms, microphones and wires, music shops and gigs; everything in this film is about music and the love that each character has for it in their own way.

The film features two original songs composed by Zachary Stephenson of Munky and we are currently putting together a soundtrack made of both classical and punk music, featuring mostly unsigned independent artists such as Bangers, Müg (UK) , Antillectual( Netherlands) and Checkpoint, Forgotten Soldier and Declan Byrne who are all from Ireland. Shit Present ( UK) and Irish act Givamanakick are in talks about coming on board.

What are your cinematic influences? I’d imagine Italian cinema plays a big part? I grew up without a TV because my parents were against having one in the house, but we used to have a VHS player attached to a monitor, strictly used to watch films together. Both my parents loved cinema, and I remember watching italian classics of directors such as De Sica, Rossellini, Scola and Tornatore. I also watched cinema classics with my grandparents. I became an avid reader at a young age and soon I started writing my own stories for my friends to read. I took inspiration from books, comics, Japanese cartoons that I would watch with my friends and music. One of my first dream jobs was to write for music videos.

It took a few more years for me to develop a proper taste for cinema, but to this day the vital element of a film to me is still storytelling. I love those films that tell a story the same way as I wish I did, that put an accent on the psychological development of characters and can capture me emotionally. Directors such as Krzysztof Kieślowski, Anton Corbijn, Gus Van Sant, Nicolas Winding Refn, Tony Richardson, Jeff Nichols and Ben Wheatley have been a major influence on me both narratively and aesthetically.

Are there any Irish filmmakers at the moment that you are interested in? I love Jim Sheridan’s films and Martin McDonagh as a filmmaker (and playwright). I also really enjoyed the productions made by Cartoon Saloon. There are a good number of Irish films that I watched through the years and that really stuck with me, such as: Inside I’m Dancing, I Went Down, The Commitments, The Wind That Shakes The Barley, Breakfast On Pluto and Once. I am looking forward to Mark O’Rowe’s The Delinquent Season.

Look out for the trailer for The New Music which is out in the coming weeks. You can follow the cast and crew on their social media channels below and most importantly if you want to donate to the cause just click here.

Follow the film’s progress on Facebook, Instagram, Twitter, and YouTube.

Cilléin McEvoy – lead

Chiara Viale- director

    The New Music- Upcoming Irish Feature shines a light on Young Onset Parkinson's Disease The New Music is a new Irish feature film currently in post-production. The film aims to shine a light on Young Onset Parkinson's Disease, a rare and little known condition which affects people under fifty.

[kajaroj]

When we think of video game movies/adaptations, the thing that first come to mind is the horribly forgettable 1993 Super Mario Brothers movie. That movie laid the foundation of a string of multiple bad video game movies made by Hollywood, and one of which was 1994 Street Fighter starring Jean-Claude Van Damme. While there somewhat of a redeeming value with the movie (mostly for the wrong reasons), the 1994 Street Fighter movie represents the difficulty Hollywood has had in adapting a long-running fighting game franchise.

A year ago, I was full of excitement and hyperventilation when they announced that the live-action TV series based on the popular Street Fighter video game franchise—that had been in the works since 2014—was finally moving forward. What’s really exciting about the upcoming TV series is that it will be a sequel to an already existing live-action Street Fighter adaptation. Thankfully it’s neither the 1994 movie nor the Chun-Li movie.

https://deadline.com/2018/03/street-fighter-video-game-franchise-adapted-tv-series-entertainment-one-mark-gordon-1202352026/

To put things in perspective, this article will be a retrospective about the 2014 live-action web-series/movie Street Fighter: Assassin’s Fist (to which the upcoming TV show sequel is based on), and why I consider this live-action foray to be one of the finest and most faithful screen adaptations of any video game to date and why this needs more mainstream exposure.

Street Fighter: Assassin’s Fist is the brainchild of British actor and stuntman Joey Ansah. If you are not familiar with this man’s work, I suggest watching one movie he is most known for: The Bourne Ultimatum.

  The Bourne Ultimatum was the perfect stepping stone for Joey Ansah to showcase his talents that would eventually get him the opportunity to do a live-action Street Fighter adaptation, especially one that is done properly and faithfully. Out of all the Street Fighter aficionados that I’ve seen, Joey is arguably the only one that is genuinely passionate for the entire lore and universe, and it is very much evident in Assassin’s Fist on how much he carefully crafted dimension and humanity to well-known characters that are basically two-dimensional polygons in a fighting game.

Street Fighter: Assassin’s Fist arose from a proof-of-concept short film that was released on YouTube in 2010, and it immediately got positive traction from fans and numerous media publications. The well-received short film, Street Fighter: Legacy, was done as a mere response to Hollywood’s failed attempts at adapting CAPCOM’s popular IP. Hearing from Joey’s interviews, like many Street Fighter fans he disliked the two Hollywood adaptations, and he really wants something to be done right.

Joey initially pitched a TV series to CAPCOM, but because of the certain difficulties of trying to get a TV show to be made, he re-approached his pitch into a short film which eventually became Legacy. Fast forward to 2012, the announcement of a new live-action Street Fighter feature-length series made me feel apprehensive at first. However, when I heard that it would be made by the same guys who did the Street Fighter: Legacy short film, it sparked a huge amount of hope, as I thought this might be the first live-action Street Fighter that will be done right. Two years later, the series Street Fighter: Assassin’s Fist, was about to arrive. It was around 4-AM, and I was all prepared with early morning breakfast. Going in, I was feeling a bit anxious because, given the current status of video game adaptations in Hollywood which are still a work-in-progress, I still didn’t feel that a live-action Street Fighter series would merit any artistic or narrative value. However, after watching the series in its entirety, tears started pouring down and I felt so happy and relieved that it was very good. I thought it was the most intense, emotional and immersive experience I’ve ever had cinematically.

Street Fighter: Assassin’s Fist was first released as a web series on YouTube, consisting of 12 episodes which are 10-12 minutes per episode, so if combined, it’s like a 2 & 1/2 hour movie. In terms of its production value, the series is very cinematic in quality, and so I feel it could have been released in movie theaters. Assassin’s Fist is truly a fan’s wet dream, having a huge amount of in-game references and Easter eggs for fans familiar with the games. But underneath its fan-service contains an incredible amount of deep narrative that strongly flushes out each of the characters. Of all the video game adaptations that I have seen, this is one that I would watch over and over. So, I asked myself: “Why did this work?” “What were the strengths?” Here are a few reasons as to why Street Fighter: Assassin’s Fist worked so well as a fighting game adaptation:

This live-action adaptation is Street Fighter to the core.

The film/series stars the franchise’s poster boy, Ryu, played by Korean-American actor, Mike Moh. It also stars his American best friend/rival, Ken, played by British actor, Christian Howard. What I can truly say with this is… FINALLY!!! We have a live-action Street Fighter that is very true to the core essence of the games.

The main actors are well-cast, especially Ken Masters because he looks exactly like Ken in real life. Ryu was also spot-on that he reminded me one of the artworks from Street Fighter III: Third Strike. 

    The story takes place in Japan.

Street Fighter: Assassin’s Fist’s setting takes place in the secluded mountain wilderness of Japan, which should have been the appropriate start for a live-action adaptation of the game. Street Fighter may be a global game franchise, but its roots will forever be ingrained with Japan. So, who lives in Japan? Who else?! The franchise’s poster boy, Ryu.

Ryu, perfectly embodied by Mike Moh.

The great thing about Assassin’s Fist is that it mostly tells the story of the Japanese characters. The story is set around the late 80s’ Japan where Ryu trains in the deadly style of martial arts known as “Ansatsuken” (Assassin’s Fist) under the tutelage of his master, Gouken. Though Ryu is not the only one learning the art of Ansatsuken, his American best friend Ken Masters is also learning the arts after his father brought him to Gouken when he was young to change his way of life after his mom’s death. During their final years as students, they learn the ways of the Hado, learning to do the 3 signature moves: Hadoken, Shoryuken & Tatsumaki Senpu-kyaku.

Assassin’s Fist is 2 storylines told in a non-linear way. The present-day storyline takes place in the late 80s’, while the past takes place around the late 50s’ as flashbacks. In the past storyline, we get to learn how Ryu and Ken’s master Gouken learned the ways of Ansatsuken under his master Goutetsu, and how the dark traditions and legacy of the art led to Gouken’s younger brother, Gouki, into becoming a powerful entity known as Akuma.

I don’t know about you guys, but I love Japanese storytelling, especially in cinema. What I love about Assassin’s Fist is that, despite this being a western adaptation, every aspect feels authentically Japanese. Of course, there were lots of English dialogue, but it balances it with Japanese dialogue that makes the film feel like an authentic Japanese movie. The landscape cinematography and film scope often reminded me of classic Akira Kurosawa films I’ve watched.

It’s not an adaptation of any Street Fighter game.

Among the major strengths of Assassin’s Fist is that the core essence of the games remains intact despite the film not being a direct adaptation of any existing Street Fighter game. The movie acts as a prequel to the events of the first game, while referencing a variety of narrative elements from the games. Aside from the 2 terrible Hollywood film attempts, Street Fighter has had several adaptations, mostly in the animation and comic field. Having read a number of Street Fighter-related comics and watched all of anime, Assassin’s Fist makes a number or references and nods to the various animations and comic book iterations.

The balance of drama and martial arts is perfectly-paced.

What made Street Fighter: Assassin’s Fist work as a piece of film was the intricate balance between character drama and martial arts. The film runs at 2 1/2 hours, which was perfect for adding fight scenes at the right pace. The film had about 4 fight scenes and 2 training sequences, which is a total of 6 action scenes. The martial arts scenes were superbly-shot and tightly choreographed, and what really helped make this happen was the fact that the actors themselves are actual martial artists.

As a whole, Assassin’s Fist plays more as a “drama film with martial arts” as opposed to being a martial arts film. The drama worked very well because it was very non-linear, yet straightforward—as opposed to being convoluted and scattered. The character development perfectly humanizes each character’s motivations while still adding a bit of mystery to them. Moments of interaction between Ryu, Ken & Gouken were great to watch, especially the training sequences. My favorite dramatic moments, though, were from the flashback scenes between the young Gouken, Gouki & Goutetsu. The movie is mostly serious in tone, but I also enjoyed the comedic moments just to lighten the mood.

The huge amount of dramatic depth was mostly shown in scenes in the past, especially in scenes between Gouki and Goutetsu where they’re arguing about the traditions and philosophies of the Ansatsuken lineage. There is no clear protagonist and antagonist in the movie, but what really immerses me with each character is that fact that they’re dramatized as very multi-dimensional. They have moral grey areas, flaws, fears, struggles and insecurities that would make you root for any of the characters.

Reflecting on its release, Street Fighter: Assassin’s Fist provides a solid proof that fighting games and video games in general can work as cinematic adaptations if done faithfully and properly. This movie is the perfect template for any filmmaker attempting to adapt any video game that properly balances in-game action and story. It’s just slightly disappointing that with everything that was accomplished here, mainstream press overlooked this piece of cinematic gem.

My only assumption as to why Assassin’s Fist not getting its much-deserved mainstream exposure is because it was a fan-made adaptation. But I feel like some of the press overlooked that this movie was made with CAPCOM’s involvement. I guess bigger attention to Assassin’s Fist will subsequently pick up when more updates with the upcoming TV series is released. Thankfully, many of the actors who appeared in this movie/web-series are now getting much bigger opportunities, particularly the Ryu actor, Mike Moh who recently got his Hollywood breakout portraying Bruce Lee in Quentin Tarantino’s latest film, Once Upon a Time in Hollywood.

From Ryu to Bruce Lee.

So, I’m going to end this article by saying… Thank you, Joey Ansah, for giving us a true-to-heart live-action cinematic adaptation of Street Fighter, and a great yet overlooked video game movie which I truly hope will find its way into much bigger publicity than its initial release.

After over a year trying to sum up my overall thoughts on this particular topic, this is a retrospective on what I consider to be the most overlooked and underappreciated video game adaptation ever. Street Fighter: Assassin’s Fist. When we think of video game movies/adaptations, the thing that first come to mind is the horribly forgettable 1993 Super Mario Brothers movie.

[recentanimenews]

Bookshelf Briefs 4/30/19

Arpeggio of Blue Steel, Vol. 14 | By Ark Performance | Seven Seas – Last time I wondered if Arpeggio of Blue Steel really was going to become a high school series, and it’s certainly trying its best, with a School Festival arc in the offing. That said, the tone of the series is still very much Tom Clancy, with much of the volume taken up by I-402’s negotiation with retired general Ryokan on behalf of the Fog. Meanwhile, we also get a flashback as to how Gunzou started all this in the first place (Iona basically forced it on him, but it doesn’t take much pushing), and start to see pieces shifting into position for the next big battle. Will that battle take place at the school? It might start there, but my guess is we’ll be back to the Navy before long. Still underrated. – Sean Gaffney

Crocodile Baron, Vol. 3 | By Takuya Okada | Kodansha Comics (digital only) – Crocodile Baron comes to an end without evolving much since volume two. Alfardo and Rabbit Boy run into the former’s bad older brother, who seemingly turns his life around after eating some ramen. Alfardo eats spicy curry with a desperate warthog and possibly saves his marriage. Rabbit Boy hates Christmas because it’s his birthday and buys a cake from a camel. A lovelorn elephant filmmaker finds his muse and eats pond smelts. They have an Okinawan adventure during which Rabbit Boy nearly drowns. Honestly, I cared about no one and found it all boring. If there had been more emphasis on the food, I might’ve felt differently, but this was a big ol’ yawn banquet. – Michelle Smith

High School Prodigies Have It Easy Even in Another World!, Vol. 3 | By Riku Misora and Kotaro Yamada | Yen Press – Again, I beg the authors for a character sheet. There are quite a number of interesting things going on in this volume, but I suspect the reader may have trouble finding them among all the bouncing boobs. The fanservice is laid on with a shovel here, and can be hard to take. That said, there’s a nice scene with Tsukasa and Lyrule where she berates him for feeling guilty over not prioritizing saving her. The bulk of the serious plot goes to Shinobu and Elch, gathering intel at a seemingly friendly village with a very dark secret. Fortunately (assuming that it’s not a double cross), she may also have come across the resistance. Too many boobs spoiling the pie, alas. – Sean Gaffney

How to Treat Magical Beasts, Vol. 3 | By Kaziya | Seven Seas – Lest we try to run on “the sweet and heartwarming adventures of a vet” for too long, this volume introduces a smiling maybe-villain-maybe-not, who helps Ziska with a cat’s injury and then takes her way out into danger to attend to a wounded Greif, because no series with apprentices and magic is quite complete without a test to see if they’ve got the right stuff. I assume Ziska does have the right stuff, but we’re caught up to Japan, so it may be a while till we find out. In more sweet news, that is one adorable gargoyle, and I’m happy it’s found a friend. Seven Seas has carved out a genre niche with these types of series, and I quite enjoy it. – Sean Gaffney

Mob Psycho 100, Vol. 2 | By ONE | Dark Horse – I keep wanting to call this MPD Psycho, but that is something very different. This is the story of an unassuming boy named Shigeo Kageyama who possesses super powers but wants to live without relying on them. This challenges the worldview of another superpowered boy named Teru, who spends two-thirds of the volume flinging his power at Kageyama in order to make him fight back. (Kageyama is resolute that he won’t use his powers against another person.) The anger meter appears again (with a fun gag about how Teru’s exorcism of Mob’s sycophantic spirit companion doesn’t actually change it at all) and only when his life is in true peril does Kageyama reach “???%.” Will he wreak havoc in the next volume? The story’s definitely getting more interesting, but I’m still not in love with the art. – Michelle Smith

My Hero Academia: Vigilantes, Vol. 4 | By Hideyuki Furuhashi and Betten Court | Viz Media – This gets better with each volume. I had not realized that the Vigilantes series takes place a few years before the main series (though the authors cheat (and say so) for the extra side story). I had suspected that Knuckleduster was somehow connected with the villains, but that connection turns out to be much closer than imagined, and leads to possibly the best fight of the series. Meanwhile, Pop Step finds her confidence and does something only she can do to help out. All this and one of the most horrific images in the manga to date (which also made me wonder if the authors had seen a certain meme about bees). This has become essential. – Sean Gaffney

My Pink Is Overflowing, Vol. 1 | By Yuki Monou | Kodansha Comics (digital only) – I bought this hoping it would be hilariously trashy, and for the most part it was. The premise has a girl who’s tired of being screwed over by pick-up artists decide she’s only going to date virgins from now on… then find out that her boss, seemingly an overly serious taskmaster, is one! They enter into a relationship so fast it boggles the mind, especially since their first kiss is interrupted by her having an orgasm as she does it. At its heart, this is a “ditzy girl/serious guy” title with a decent heart, but the girl can get very over the top at times, and the series seems to want to go as far as it can while keeping the hero a virgin. Plus there’s that title. For fans of Cosplay Animal. – Sean Gaffney

Teasing Master Takagi-san, Vol. 4 | By Soichiro Yamamoto | Yen Press – It has to be said, a lot of the teasing that’s going on here is Takagi-san being as obvious and blatant as she possibly can that she loves Nishitaka. You’d have to be a brick—or a male protagonist—not to get it, and indeed sometimes it’s so blatant he almost shows sings of figuring it out. But this is a long-running series, and resolution just isn’t in the cards right now. So we get Takagi-san visiting his room, playing poker, chasing cute cats, and getting each other’s emails so that now she can tease him whenever she wants to (and have cute photos of her on his phone). Everyone else in their class knows they’re going out. Most of what they do qualifies as a date. But… so dense. Love this series. – Sean Gaffney

Witch Hat Atelier, Vol. 1 | By Kamome Shirahama | Kodansha Comics – Even before it was licensed in English, Witch Hat Atelier was a series that had caught my attention, in large part due to Shirahama’s gorgeous, sumptuous artwork, but also because my Japanese-reading friends spoke so highly of it. At times, the exposition is a little heavy-handed in the first volume as the premise of the the world’s history and magic are introduced. (I expect this to become less of an issue as the series progresses.) However, the explanations are regularly incorporated in a way that makes sense—Coco, the story’s heroine, is also new to the basics and she’s learning right alongside the readers. Coco is a young woman who has always been fascinated by magic not realizing that she has a natural talent for it. Unfortunately, the initial budding of her magical skills ends in tragedy as she hasn’t had the training needed to fully understand or control them. – Ash Brown

Yowamushi Pedal, Vol. 11 | By Wataru Watanabe | Yen Press – No, the Inter High still hasn’t come to an end, but this is still a pretty satisfying volume, what with all the inspirational performances and teary appreciation of same! Watanabe does a good job getting readers to root for Hakone, too, and we learn why Arakita is so motivated to propel Fukutomi to the finish line, right before he runs out of speed. Yes, it’s a harsh truth that all six members of Sohoku aren’t able to ride together for long. The first-years prepare themselves to make the sacrifice for their teammates, but that isn’t how it turns out at all. I was fully expecting that Kinjou would be the one to win this, given his experience in the previous year’s competition, and was honestly surprised when he’s sidelined by injury. I suppose the next book will wrap things up but I kinda don’t even remember what this series is like when it’s not the Inter High! – Michelle Smith

Yuri Is My Job!, Vol. 2 | By miman | Kodansha Comics – Now that Hime is aware of who Mitsuki was in her past, everything is terribly awkward, and the number of times “she must really hate me” is said in this volume boggles the mind. If you guessed it’s all based on misunderstanding what the other is thinking, give yourself a gold star. For all that Hime tries to be the perfect little sister, it’s only when she’s honest with herself that things really take off in the cafe. I’m hoping that things will improve soon, but there’s also the problem of Kanoko, Hime’s best friend from school whose phone turns out to be entirely devoted to Hime. I dislike the term “yandere,” but I have a sneaking suspicion we’re going to see the tropes that lead to its overuse in the next book. – Sean Gaffney

By: Ash Brown

[mylifeatwar]

Book 2, Chapter 1, Page 4

Archived Text Follows:

And up he goes!

As some of you are so astutely noticing, the Dhuvalians are very different from our beloved Free Marketeers. I’m often fascinated and delighted by stories of culture clash, where two very different ways of thinking collide and the results therein.

Stories of American Marines snapping Japanese Officers’ katanas in half because the mangled, master-crafted weapons made fantastic trench knives. Stories of Colonists in America defecting to the Native American tribes because the quality-of-life among the ‘savages’ was so much higher. Stories of how the Medicis, when they visited France, found the food so appalling that they imported their own cooks from Italy, which ended up becoming the foundation point for France’s culinary tradition.

War is the most obvious form on conflict, but when groups fight each other, they end up interacting in a myriad of ways beyond the martial level. I hope we can take the time in MLaW to witness some of those moments…

Thanks for reading,

– Luther out

Comment Text Follows:

Killercow - Yay! Thought he was gunna fall right back down again there. Nothing like the elegant movements of the Duke we saw way back in the prologue, but he certainly must have started off this way! I wonder how the free marketeers train with such limited space, if their entire county is essentially one mega city.

Sophisanmus -  If I had to guess, Free Marketer Limbs don’t require as much training, at least with regards to basic locomotion. They seem to rely on more utilitarian propulsion and what articulation they do possess is likely more automated than Dhuvalian counterparts. I’d even expect Free Marketer basic training to make use of sims, possibly eschewing field training entirely in cases. Pilot skill seems tertiary to squad tactics and quick turnaround on the broad scale. The Dhuvalians have superior tech and training, but I’m curious to see what kind of army the Free Market economy can raise when … motivated. That is, if the Dhuvalians manage to piss off more than just one sector.

folti - Or probably this training LIMB’s control software has been dumbed down seriously, to allow a more in-depth training about how to handle a LIMB. It’ll take more time, but probably the pilot gains more understanding of how the vehicle behaves compared to the Free Marketers’ “let the software handle that low level stuff.” approach. It might be necessary for the more acrobatic stuff their LIMBs can do, compared to the more limited ability FM LIMBS. Or maybe it’s just a silly tradition those snotty Dhuvalian nobles espouse…

Plaintextman -  I would guess that the FM LIMBs we’ve seen so far are a little easier to pilot, though a little less capable overall agility-wise. If they really were “easy” and required little training, I don’t know how the heck Dizee maintains his position as a pilot. He’s obviously got the raw skill and sense to pilot a limb, but little sense in other areas.

Grudgesettler - They seem to have more LIMBs then pilots, at the very least. Leaves me really curious as to the training involved for their pilots. I can’t imagine automation being a massive thing, otherwise I would expect to the opposite situation; a metric ass ton of pilots (that’s still an accepted unit of measurement, right?) to a smaller number of LIMBs. And in such a situation, Dizzee wouldn’t be piloting for very long. That said, there were a number of computerized-looking systems during the cockpit shots, so I have no idea.

Bounty Red - I think you guys are not giving the Free Marketeers their due credit. I’d bet no Limb is easy to handle, look at them, mechanical behemoths. While the free marketeers are less educated I bet it’s the same thing as being a mechanic, or learning to ride a horse. Not something the average person wants to do, so being a military killer is left up to those who can’t do anything better. While I think it’s more of an honor and a privilege for the Dhuvies, similar to how flying a jet is a right for officers.

SteelRaven - I still remember Dizz’s thoughts of the Dhuvalians, can only imagine what they think of the Free Marketeers. Another fun fact regarding the cultural impact of past wars; When the Ottoman Empire invasion into Europe was stopped at Vienna, the fleeing Ottoman army left bags of coffee behind in the hasty retreat. It didn’t take long for the people of Vienna to take a liking to coffee bean themselves and soon Coffee houses pop up throughout the city and soon all of Europe.

Grudgesettler - I recall an earlier comment, can’t remember who said it, on the comic when Vulture is struck by the Dhuvalian pike. Basically, “let’s see if the filthy lucre can balm his soul.” That would strike me as something the Dhuvalians would think; mercenaries, they be scum. On a related note, I now want a mug of coffee.

Plaintextman - Ah yes, there just isn’t anything like a good look at different cultures and people, their history and how they interact. Bonus points if you get a nice look at their respective languages and their subtle yet dichotomic differences. Well, at least in my case — keep it in mind if you guys want extra kudos from me, Matt haha I’m already liking this Christophe Sagnier character. He really seems cut out for his position as a high-up in the monarchy (whatever exactly his position entails).

Jack Mcrary - Just a minor point of order: Those Japanese swords were very cheap (one of the reasons they broke so easily) mass-produced items, not the masterwork pieces from the days of feudal Japan.

Mr. Patenge -  While it’s true that the enlisted Japanese soldiers were issued low quality mass-produced swords, the officers often outfitted themselves with high quality swords (masterwork may have been an exaggeration). US Marines were unable to tell the difference between the two until they devised a system of smashing looted swords with rocks. 

Grudgesettler - While I’m not sure of masterwork, I know many of the Japanese officers whose families had served as samurai in the previous centuries had ancient family blades, many of which had seen multiple generations of combat. Because these were considered items of cultural heritage, they weren’t allowed on the battlefield. But tradition dies very, very hard. In order to use their blades, these men got one of the mass produced weapons, removed the blade from the hilt, and had the blade from the ancestral weapon placed in the cheap hilt. By all appearances, it was another government sword. *the corny music from The More you know*

BeerWolf - Another fine point, if I may. The Marines felt they needed trench knives to stay alive far more than they needed swords for their collections. Perhaps they were more discriminating after the fighting stopped, but in the hells of WW2 jungle fighting, the needs of battle came first. ( and 2nd, 3rd, etc.)

TKG - its kind of interesting to see the artistic design differences between free market and Dhuvalian limbs on a basic level. The free market ones are clearly the process of a corporate process, very boxy and rather limited in what they do where as the Dhuvalian ones seems as much works of art, as they are combat machines. I wonder what the trade off is?

Deoxy - “I wonder what the trade off is?” COST. In WWII, the German tanks were completely and utterly superior to the American tanks. The American tanks were cheap… and thus outnumbered the German tanks rather a lot. The end result was higher tank losses on the side of the Americans… but still victory, as they had tanks left, and the Germans didn’t. RTS spam tactics, basically – cheap, replaceable units that do more damage to the enemy (as a group) than they cost to replace. When you can only take a limited number of units (for whatever reason), quality is of the utmost importance. When that limitation is removed, quantity usually wins.

TKG - Since we do not know what a front line Dhuvalin Limb costs without that information it is not safe to assume cost is the factor/only factor in play. It could be limitations on manufacturing, as the Dhuvalian units as seen seem to lack as much weapons system variability. But they do have fancy looking stealth systems which may suggest otherwise.I might also point out we do not know the full extent of either side’s manufacturing capabilities so we don’t know who’s pushing quality or quantity. It is clear from a pure aesthetic standpoint though the Dhuvalian limbs are easier on the eye. As a final note we’ve seen what three or four variants on the free market Limb so far but perhaps maybe two Dhuvalian Limb variants? It may be that the rest of them hav enot shown up and it’s more a battle of culture then technology or manufacturing. As a final note, in the RTS bit I got a very ‘GDI medium Tank vs. Nod Stealth Tank’ vibe from the straight up line confrontation earlier in the comic.

Grudgesettler - I wonder if manufacturing costs is even a particularly big consideration, really. One thing to remember is that the 1st Investment Recovery Battalion isn’t an army, but a company. Their assets are obviously considerable, but they’ll operate in the manner of a business, not an army. As to how that would effect equipment, I picture them buying in lots, either per year or quarter, rather then having a permanent manufacturing base and a logistics engine. Simply put, they brought all their stuff with them, and unless the company decides to ship out more, I suspect that’s all they’ll have. That will put them in a rough position against the Dhuvalians. As Betsy-Ray said earlier, they are an army. They have a nation of resources, a logistics train, a stronger battlefield ethos then our beloved Marketeers, and the propaganda brought about by an invasion. From where I sit, they have both quantity and quality on their side. Our Free Marketeers are in a tough place.

TKG - Since they’re corporate assets we also don’t know if the 1st literal size. the word battalion could be an understatement or an overstatement of their actual size not counting dependents and non-combatants. It would be absolutely ironic if it turned out they were the corporate equivalent to rent-a-cops.

Grudgesettler - Sorry, I’d meant company as in a business venture, not as a military unit.

Bounty Red - Good point. Think about how long Dizzy had to wait in line to get his Limb repaired. 7 minutes. Crazy.

Mr. Patenge - Well specifically, they didn’t even both to repair his LIMB, they just slotted him into a new one and got him back out on the field. By the way, I notice that you’re a new reader. Welcome! How’d you find out about us?

[laidbackmarco]

As uncomfortable as it is making art and putting yourself on display, in order to grow and improve as an artist you have to start getting familiar with that feeling. The mix of chemicals and neurons firing you experience when having awkward conversations with that girl/guy you like, before going on stage, or trying to draw something you are uncomfortable with is often described as fear or nervousness, but I’ve been trying to look at those moments when you can feel your blood pulsing through your body with a new lens. I think that feeling is actually the feeling of excitement which through social conditioning has been transformed into that of anxiousness. I think deep down people are excited to be talking to that person, performing, or learning different ways to approach art.

One thing that’s not hard for me to do,  because of my terrible self esteem, is admitting that my art is bad or needs improvement. . . actually it’s much harder for me to accept a compliment about my work then anything else. Which is also bad, because if you deny someone’s compliment it’s like telling them subconsciously that their point of view doesn’t matter, don’t devalue them just smile and say thank you. Although I do wish they would stop using the “It’s better then I could do” seriously stop saying that to your friends who do art because that doesn’t make us feel better. Back to the main point! I know I needed to improve my digital art skills, but I had no idea how to go about doing it. There are a lot of resources online that are available, but the problem was there was just so much free information out there that I had almost drowned in it. I stumbled across this website called https://www.ctrlpaint.com/ which seemed to have everything in a nice organized fashion, had a plethora of free content, and I liked the way Matt Kohr presented both his philosophy and lessons.

I began plugging my way through the lessons one step at time. Although I had taken art classes in college, I figured that like in League of Legends, Fighting Games, Basketball, and now art fundamentals are extremely important and it can never hurt to refresh and sharpen those tools. So I started from step one and worked my way through the Digital Painting 101, Traditional Drawing, And Most of the Drawing 2 segments until I reached this challenge called When In Doubt, Draw 100.  Before I watched it I thought one hundred is a pretty large number, I mean I tried to do Inktober and a thirty day original character drawing challenge and I couldn’t even manage to do those, there is no way I could manage to draw one hundred of something I’m uncomfortable illustrating.

As if the challenge itself wasn’t hard enough, I had trouble even getting started on it. What should I draw? How many drawings a day should I try to do? What medium should I use when illustrating? Were all questions were allowed me to procrastinate and satisfy the instant gratification monkey in my head with some League of Legends. It took me a couple days browsing twitter and looking at amazing art to become honest with myself and say that it doesn’t matter what I draw because I’m so bad at everything the improvement alone will be worth it. But two areas I know that every artist struggles with, even my better peers on the social networks, are hands and feet. I mean just look at some of my earlier work

The feet and legs are more like blobs and the hands are pretty much mittens, both needed to be improved, but I decided to go with drawing feet first.

And I know what you’re thinking eww feet gross, people find feet gross, and repulsive for some reason? Maybe because you walk on them all day and they are close to the ground? I  don’t know, but I’ve been looking at feet my whole life. . . my view of the world is often looking down at the ground. Most people will look at other people’s faces when communicating, which is something I’m trying to do now, but my whole life I’ve had terrible self esteem and probably some form of depression so I’ve gone through it avoiding eye contact. The easiest way to avoid eye contact and not run into everything and everything is to look down at the ground. This way you can still see where people are going and where objects are in the world. If you do make it out into a more open area looking up at the sky isn’t a bad option either, but your neck would get tired after a while of stargazing.

They say a lot of information is conveyed through the window to the soul, the beautiful eyes human beings, and that probably  is true, but for me I got my information by looking everywhere, but people’s faces. Which mostly was their feet. Which can convey feelings all by themselves. You can tell by the motions of legs and feet whether someone is excited, proud, or tired by the way they walk or tap their feet nervously during the middle of class. Even the type of shoes they wear can tell you a little about their personality. For girls you can tell who the pampered rich ones are by how often their toenails are perfectly painted or if they are chipping. I remember a  girl I was crushing on in highschool got a pair of fresh new white vans. . . still my favorite pair of shoes to this day. All the super liberal art theater kids wore toms. . . to help the world out or something. But yes feet can tell you a lot about a character, I think a big influence on me is my favorite animation studio Kyoani, where one of the animation directors Naoko Yamada uses images of feet and legs to describe human relationships and interactions on a regular basis.

Legs and feet can be cute,  should  be able to describe the whole character,  even actions and motion are able to be extrapolated by through the feet by are posed,  or be fetishised(but I mean what can’t now a days am I right?), but you have to be able to illustrate them well for that to happen. Some of my favorite illustrators and animators can draw characters performing a variety of actions and because they can draw feet well the characters appear grounded and real. Even actions such as falling and being weightless have the feet react in some way shape or form.

This drawing challenge began six months ago in march of 2017 I had begun this challenge thinking  I’ll be able to knock this out in 10 days if I draw 10 feet a day. Which doesn’t sound to hard and in a perfect world that might have happened. These are probably just excuses but it was a combination of school, waning motivation, frustration, and laziness that I hadn’t finished as fast that I had wanted to. The challenge also started out being a way for me to learn to digitally sketch better, and probably woulda paid off too if I stuck with using my wacom or my surface pen to do the drawings. One drawing was even in color, which I don’t know why I decided to draw that one in color? I think it had a pretty night background, that I couldn’t execute well because it was wet pavement and streetlights.

I used a variety of sources for the feet in this set here, some from anime still frames, twitter drawings, League of Legends fan arts, and even some pictures of real life subjects.It took another four months before I started to make more drawings towards the study, but eventually I decided to start doing them in my sketchbook, because there are so many extra steps involved when drawing in a program that my procrastinating self couldn’t be bothered to deal with. First of all as much as I love my Surface Pro, the battery life is not ideal, the pen has a battery that runs out, and I don’t think my version of the surface is powerful enough to draw at the resolutions I like to illustrate digitally at. The only program I have for illustrating on my surface is manga studio, which isn’t bad because one of my favorite artists redjuice999 uses it, but it is different than what I am used to. Also when drawing on the go, which I do a lot now, you have to create a new folder, file, choose the resolution/document size, save it then find it again. It was a hassle to say the least so with an investment of  a little under 10 dollars I saved myself all those extra steps and got a new sketchbook and some mechanical pencils because no sharpening pls. Another reason that I stopped drawing was I was just getting too frustrated with drawing things I’m not comfortable with, not getting anything out of LoL streaming, my art and music had netted nothing for all the work put in, I really was just frustrated with life and started hated everything I was and was doing.

When I picked it up again four months later I started looking at comic books I enjoyed, both american and Japanese artists I admired I looked at more closely. The two main ones being Pokan8 illustrator of the Yahari Ore No Seishun Love Come Wa Machigattiru and Hiro Illustrator of Akebi Chan’s Sailor Uniform. I did look at the illustrations of an hero I could not read being as the whole page was in Japanese, but it was a random stroke of luck that I found his image on Pinterest. An interesting thing happened to me a third of the way through the drawing challenge. At about the mid thirtyish drawing I found myself enjoying the process and having fun drawing feet. This really showed I think in the 30-40 drawings of the “Gothic Loli” shoes as they were called. I don’t know why but those ones turned out really good I think? Maybe I liked Rem more than I thought and no I’m not a Lolicon those were literally what the page called the shoes. During the later 25 Drawings I found myself frustrated again I thought it was because the overall proportion and drawings seemed to be off, but that wasn’t it. Looking at the drawings the overall shape is pretty good, but upon retrospection I had realized that I was getting angry at the smaller details of the foot that I had completely brushed off before. All the small curves and nooks of the feet were becoming something I was aware of at those moments, and because my mind couldn’t wrap my head around some of the most subtle curves I was frustrated again.

I drew some feet even without photo reference, but looking at people as they passed by downtown on the street. Something that would have been not possible for me doing this challenge I was able to take a quick glance at pedestrians walking and make a quick sketch of the shoes they were wearing. I tried to do some without any reference at all, but they turned out super bad so I stuffed that Idea real quick. My later drawings I tried to look for more challenging angles, and gave more attention to clean linework and putting down darker lines where I wanted and I think that shows. The lines are less chicken scratchy than the previous drawings. I’m glad that my final drawing in the challenge had a tiny bit of shared joy as I had a viewer on my stream while completing the final piece. Thanks Zukeyni!!

For some reason I felt when i completed this challenge I would be able to draw feet with no reference easily and that I would feel like a better artist. Like completing this would give me a noticeable stat in some sort of rpg, but sadly that didn’t happen. I think that I would still need a lot of reference to draw a foot that would count as passable to my current standards. But I did improve!! Maybe? I don’t know you be the judge. To get more value out of this drawing challenge I think next time I would include more more shots from movies, challenging obscure angles, and action poses where people are in motion. As feet change when people are doing things like in one of the drawings up there I used a drawing of Akebi’s Little sister Kao chan throwing a paper airplane, and because Hiro is a good artist he captures the excitement of a kid throwing a paper airplane all the way down to her cute sneakers with little birds on them.

What I learned: I could’ve got this done much faster, you get faster as you go, take it one step at a time, lastly I still have a long way to go!

The next challenge I will do is drawing 100 hands, but I will wait until doing some other art tutorials on CtrlPaint before doing another one of these tasking, but rewarding challenges.

  Thanks to my stream that Supports me mentally during my fiascos.

SpectralFire, Derpiestder, Lord_Vath, and DirgeofRuin,

P.S. I think They all have secret foot fetishes . . . they watched the entire time.

The Draw 100 Art Challenge Feet As uncomfortable as it is making art and putting yourself on display, in order to grow and improve as an artist you have to start getting familiar with that feeling.