#one song loup garou though i think its from a movie

[ship-garbage-pile]

🎶✨when u get this, list 5 songs u like to listen to, publish. then, send this ask to 10 of your favorite followers (positivity is cool)🎶✨

This was super tough! the music i like to listen to changes like every two weeks or so. But here so far are the songs i've been listening too on an off these past few weeks 💞

1. Silver, Will golden wings. (Sora No kiseki the Animation Vocal collection.)

2. Century Color (Ray-guns.)

3. Loup Garou (Willy Deville)

4. Love deterence (from mgs peace walker)

5. Dragon (JAM project)

[panvani]

Mochizuki Jun The Case Study of Vanitas Anime da Vinci Interview - pt. 1 -

An interview with MochiJun about Vanitas was uploaded to Anime da Vinci, and while I’d seen a lot of partial translations, I haven’t spotted a full one. This is my attempt. Corrections and suggestions are gladly accepted. The link to the original is at ddnavi, appended with interview/808972/a/. Since the interview is pretty long, I’ll be breaking it up into three parts.

The opening paragraphs of the article are just the same summary/promotional lines from every other official Vanitas source, so I won’t bother translating them again.

To summarize its contents: Mochizuki talks about inspiration for Vanitas and her time in Paris, how she wants to make people want to go to Paris, and a little spoiler.

She conceived the character of “Vanitas” during her first trip to France...

- Please tell us the details of how The Case Study of Vanitas was born. What kind of idea created this work?

Mochizuki Jun: Aahh, how far should I go back... ahaha...? For my next work [after Pandora Hearts] I’d been thinking, “I want to draw either vampires or a school setting~” and I conceived the character of “Vanitas” during my first trip to France. While sightseeing in Mont Saint-Michel, I mused on drawing “the story of a single vampire who’d watched over an island for something like one hundred years.” Everything else about The Case Study of Vanitas came from that one idea, and the general forms of Vanitas and Noé were born there.

MJ: There were a ton of things I thought about doing for my new serialization after Pandora Hearts, like increasing the number of romance and battle elements. With regards to battle scenes... to be honest, when I was drawing Pandora Hearts, the head editor told me to cut down on them since “you kind of suck at this,” and I wanted to give up. I started thinking, though, like “I don’t draw them so of course they suck! If I drew them more, they’d be good!” and frantically studied to improve with every volume. I have to get way better at anatomy and the composition of fight scenes in comparison to my last work... is what I thought.

- What drew you to vampires in particular? If there are any vampire stories you especially like, please tell us.

MJ: I don’t remember exactly what the first vampire I ever saw was, but when I was little I was really impacted by the movie Interview with the Vampire [based on the novel by Anne Rice.] When I watched it, I was captivated by the tragic and fleeting existence of vampires, as well as the blood sucking scenes, so those ideas were planted firmly in my mind. Plus, it probably had an effect on my fondness for stories with a dynamic between a young man and a girl. This is a little off-topic, but it’s actually where I got the name for the Crimson-Shell protagonist. [The two main characters of Interview with the Vampire are Louis du Pont, a young vampire man, and his adoptive daughter Claudia.]

- Why did you choose to set the story in 19th century Paris? What sort of impression did your first visit to Paris leave?

MJ: Paris was the first place I’d ever visited outside of Japan, so I thought it was huge. I’d been invited as a guest to Japan Expo, and my heart wouldn’t stop pounding the entire time I was on the plane. Everything I saw seemed so new. Noé and I shared our kind of joy for Paris.

MJ: Since then, when taking personal trips overseas, I’d pay really frequent visit to this on-site publishing house in Paris. Their accompaniment for every question or problem I had when it came to any aspect of French culture was really helpful. Since I’d been so blessed to have them, I was able to go into writing ready, thinking “yeah, I’m gonna draw a manga set in France!”

- Yamaguchi Ryuu-san, who got his start designing for Final Fantasy, produced some fantastic drawings of the Paris Catacombs and Notre Dame Cathedral for The Case Study of Vanitas. That being said, it’s interesting how your Paris has not the Eiffel Tower, but a huge “Tower of the Sun” in construction to conflict with the real Paris. Please tell us about any difficulties you’ve experienced when drawing Paris.

MJ: I’m always troubled by the balance between “where I should stay true to the Paris of this time,” and “where I should create a false Paris.” I’d be super happy if this manga made someone take the chance to go to Paris. So, I had a strong passion to invite favoritism for Paris, and wanted that “the manga backgrounds should be the same as Paris!” There are falsehoods in my Paris, but the designs were taken from the real, present day world.

- With such names as the unresolved Beast of Gévaudan Incident, the Marquis de Sade, and Dr. Moreau, never before has Paris been made to adopt such an uncanny and bewitching atmosphere. If you have anything that might be a little bit of a spoiler, please let use hear it.

MJ: The Paladins of the Catholic Church draw their motif from the legend of Charlemagne. The characters from Vanitas aren’t actually the same people as those in the legend, but I like to play around with the shared relationship dynamics and character traits. [”Paladins” refer to the twelve highest ranking Knights of Charlemagne from French mythology collected in what is known as the Matter of France- the most famous of these stories is called the Song of Roland.]

MJ: Then, all of the Malnomen have their motifs taken from fairy tales or famous works of fiction [i.e. Loup Garou, based on Little Red Riding Hood, and Naenia, based on the story of Faust.] At first I thought “well, it’s set in France, so I’ll limit myself to stories documented by Charles Perrault,” but by the second volume I’d expanded my boundaries to the Brothers Grimm and was getting my hands on other stories too.

Pt. 2 here.

Pt. 3 here.