#I've already read in the manga speech bubbles if that makes sense

[dazais-guardian-angel]

Okay, a good amount of time has passed, and after having seen this post by @weretiger-be-my-horse , I've been turning it over and over in my brain going absolutely feral over this concept. I need to expand upon my thoughts on this idea and all the evidence there is pointing towards it, whether that be actual tangible things, or purely strong vibes I have.

First of all, full disclaimer: I did not like the season 5 finale, and how it wrapped up the DoA arc. To say that I "disliked" it is putting it extremely lightly, in fact -- I absolutely hated it, and I am still, to a degree, in disbelief that I actually even watched those 24 minutes with my own two eyes, and that it somehow wasn't a complete fever dream. While I'm not going to go in long-winded detail into all the ways that I feel like the finale almost completely bastardized all of its featured characters and destroyed any and all buildup we've had going on in this arc for 50 some chapters now, because that's not the main point of this post, I will not make any attempt to hide the fact that the theory-crafting I'm about to pose here is partly influenced and prompted by how much I hated the finale, and how much I desperately hope that it will not end up being manga canon. Therefore, if you enjoyed the finale — and that's fine! — and don't want to read any negativity about it, then I would not recommend reading any further (I mean, you've probably already left by this point, which is fair lol), While obviously it's important that I be as objective and unbiased as possible when explaining my thoughts, some of my negative feelings about the writing will be a part of this analysis, even if this isn't going to be a full-blown rant. Just know that if you proceed.

With that out of the way, let me continue.

So. In the aforementioned post, the theory presented is that the anime may be operating on an alternate timeline, and that this will become evident once we read the upcoming October chapter, wherein things will go completely differently post-chapter 110 than they do in the final episode — probably for the worse, with the s5 finale intending to lull us into a false sense of security and make us assume that everything in the manga arc finale will wrap up as smoothly and consequence-freely(? lol) as it did in the anime one. It also suggests that the Fukuchi we see at the very end that sskk are fighting came from the manga timeline, where he won, and that he used the Book to jump to a timeline where he lost, the anime one, proven by the fact that this Fukuchi is wearing a mask with the same design on it as the mask Fukuchi is wearing on the chapter 110 DoA color spread/title page.

First of all, I want to note the fact that it's not just the mask design that's the same: the entire outfit is roughly more or less the same as well. It's not completely 1-to-1, because the anime can never fully match the intricacies of Harukawa's beautiful outfit designs, and the Fukuchi in this scene has the kimono half-off because of the... super saiyan mode he's in, but most all of the main pieces of clothing are there. Any small inaccuracies could also be attributed to the fact that Harukawa probably didn't have this finalized art ready back when this episode was being made, so the animators wouldn't have had the complete design to work off of. But in general, because it's all so similar, I think we can quite confidently say that the ending episode Fukuchi is meant to be the one from this manga art.

Also, people have pointed this out, but it's worth mentioning that the mask Asagiri wore at Anime Expo in July was referencing this Fukuchi. It's not a crucial detail, but it just proves more that Asagiri is a gigantic fucking troll, and that he clearly wanted to draw attention to this Fukuchi design. It's important. He describes the mask here as made in the motif of an ellipses inside a speech bubble... could that perhaps be referencing meta aspects, like the Book?

Next, I want to talk about the even bigger elephant in the room, which to me is the most damning and undeniable piece of evidence there is of the anime operating on a completely separate timeline from the manga:

This Fucking Hand™️

As we all know, in the anime, Fyodor injures his hand when the password input device blows up, and as we all know, this does not happen in the manga. In the last episode, Dazai claims that the final nail in the coffin of his impromptu plan to kill Fyodor relied on this hand injury: because Fyodor couldn't pilot his escape helicopter himself, he would ask one of his Meursault vampires to do it for him, unaware that Bram and thus this vampire was now on the ADA's side, and said vampire could kill him while his guard was down.

Ignoring how utterly stupid and contrived this plan is when you stop and think about it for more than two seconds, the fact of the matter is that something that initially seemed like nothing more than an odd but inconsequential anime original addition ended up snowballing into being the entire reason one of the big bads was brought down. If Fyodor hadn't hurt his hand, he wouldn't have needed another pilot, and so the traitor vampire wouldn't have had an opportunity to get near him and kill him without him expecting it even though said vampire was presumably with him as they were leaving Meursault, and was probably already a traitor by then, so there was plenty opportunity for him to still die. not to mention by Chuuya's hands at literally any time he wanted to, because Chuuya was coherent the whole time. Also there's absolutely no way Dazai could have known exactly what Ranpo would do, no matter how smart he is and how much he trusts him. idk it's fucking dumb, just roll with it. Therefore, putting aside all other variables for now, we can conclude that, on the most basic level, this signifies that no hand wound = no death.

And let me tell you, this hand wound bothers me. It really, really does. Because they focus on it a LOT — they go out of their way to draw attention to it MULTIPLE TIMES, from the moment it first happens to the end of the season. Fyodor even talks about it to himself, about Dazai being able to cause him tangible, visible, bodily harm, (something that, again, as far as we've seen, has never happened in the manga). Hell, even after Fyodor's death, they're still drawing attention to it, because his right arm is all of him that survives, and Dazai picks it up and gives it to Nikolai to do his hilarious sad little gay fondling of it played completely straight even though there's nothing straight going on here at all! It's like it's a big red flashing sign at all times going "you see this injured hand? This is important. Are you picking up that it's important? Are you taking note of it?" Why is that? Obviously, it serves to give us the lore crumbs about Fyodor and "that man", but that's hardly the main, much more glaring reason, as I've already mentioned.

Fyodor doesn't hurt his hand in the manga. Fyodor won't die here in the manga. I am so dead serious by this point about this, and it's not just simply the fact that this was absolutely not at all the time for him to die, or the fact that his hand is the reason for his death in the anime in and of itself, but how much EMPHASIS they place on this, and on the hand in general. What would be the point of adding something like this, if it's not meant to alert us to the fact that it has a major impact on how the story plays out? We all know Bones: they struggle to get right and include everything that's already there in the source material; they would never go out of their way to add something this noteworthy if there wasn't a very good reason for it, if it wasn't absolutely necessary. I've seen a few people bring up the fact that Fyodor gets shot in the shoulder by Sigma and that that could lead to the same outcome in the manga, but I disagree: although he has blood on his shoulder in the manga, it seems like the bullet just grazed the top of it, because his arm and hand appears completely functional afterwards (not hanging limp by his side or anything). But that doesn't even matter, because this isn't even about the semantics/logistics of how the hand wound caused Fyodor's death because again, it's a stupid outcome, or what could serve as a substitute in the manga — thematically, this is a textbook example of the butterfly effect. Countless parallel universes exist within this series, ones where even the most minute differences lead to a majorly different outcome: this just happens to be one of them. There's no reason to think it isn't, and there's no reason to not think that the anime wants us to clue into the fact that things only went as smoothly as they did on the Meursault side because of this wound; in other words, that things will go very differently in the manga thanks to the absence of said wound. They wouldn't have added it in the first place and put such clearly deliberate emphasis on it otherwise.

Things are going to happen very differently in the manga, at least when it comes to the Meursault crew (but then, if you assume that, you then naturally assume it all will be very different). This is the only conclusion one can come to with the presentation of this anime-only wound, combined with the fact that parallel universes are a very real thing in BSD.

I'm going to go on a bit of a tangent, so bear with me. I play a lot of visual novels, and although such concepts aren't really as original now as they were a while ago, some of my favorite and some of the very best VNs out there are the ones that break the fourth wall and make the visual novel branching route format directly intertwined with the story: you know, the ones where the characters go "if only I had done things differently, maybe everything would have turned out better...!" in a wink wink nudge nudge moment, and the ones where the characters are aware of the different timelines, even, or even have the ability to gain information from their selves in said alternate timelines to influence events in their current one (I'm intentionally not naming the games I'm thinking of for the sake of spoilers, but if you know, you know lmao). It gets very meta in this regard, and this is how I started viewing BSD through the lens of ever since I first learned about Beast: like a visual novel with many branching routes, and only a few routes that feel entirely "right".

When I first read Dazai's Entrance Exam, I was struck by how unnerving the ending sequence in the abandoned hospital felt. Obviously, Kunikida's internal struggle over Sasaki's actions and motives is him still desperately clinging to his ideal world that does not exist, but the specific type of phrases he uses — "who is wrong?" "[who is] the cause of all this?" "there has to be an ideal world" "there has to be something, I'm sure of it" "There must have been something we could have done!" — and the framing of the scene in general, is eerily reminiscent of a bad ending in a visual novel, to me. There's a haunting, looming, bleak sense that a different outcome could have been achieved, if different decisions had been made, or if things outside of anyone's control had been different... and we know that this is true, because in Beast alone, Kunikida never goes through the Azure Messenger incident, because Dazai doesn't have his entrance exam. Hell, you could even consider the anime's version of the Azure Messenger arc an alternate timeline in of itself, if you really wanted to, long before we even arrive at season 5.

When it comes to Beast, this timeline has almost the opposite feeling of what I described above, that I've also encountered in visual novels: the idea of a "good route" or "good ending" that still doesn't feel quite earned, or as perfect as one would expect. Beast is presented as the "ideal" timeline purely for one sole reason: Oda is alive. It is the only timeline where he's alive, and keeping Oda alive is the ultimate goal Dazai wants to achieve, the only reason this timeline exists; therefore, disregarding all else, Beast should be the best timeline, because Oda's death is the greatest devastation in the series to date. We all want him to live, so why wouldn't the timeline where he does be the best one? And yet... of course, it isn't. Dazai is alone, and steeped in darkness and loneliness without Oda, and dies by the end of the story for Oda's continued living. Atsushi has Kyouka still, but he's suffering and more traumatized, and unable to heal while stuck in the mafia, and neither can Kyouka. Akutagawa is living a much better life in the ADA... but without his sister, and without what he has from his bond with Atsushi in canon, that isn't replicated in Beast. And Oda... Oda is alive, and he has his children and his novel, but there is a feeling that he is aimless, that something in his life is missing. He has everything he ever wanted, but all that means nothing without what he truly needs: Dazai, and his time with Dazai and Ango at the bar. In this way, things going well and us getting what we want — in this case, Oda living — goes against how it's supposed to be, the natural order, which is why it feels so hollow. In the specific visual novel I'm thinking of here as a comparison (again, shoutout if you know), there's an alternate ending that involves you inputting information you gain at the end of the game very early on in the game, wherein the protagonist now has memories of the future and is able to bypass and prevent all of the events that take place normally. This means that people who die or are hurt somehow in general are saved from that fate, and nothing bad ever occurs; everything wraps up neatly and nicely... but again, there's an undeniable, unsettling feeling of emptiness, of a victory that rings hollow, because what's the point if everything is simply handed to you easily, where's the sense of accomplishment, without any struggles to achieve said victories, or any growth along the way? How can it feel earned if one doesn't have to, in Dazai's words, "scream within the storm of uncertainty, and run with flowing blood"?

You can probably already see where I'm going with this.

This finale feels weird. Really, really weird. It feels too cheap, too simple, too unsatisfying. So much so, in fact, that for almost the entire runtime, as I was bombarded with resolution upon resolution one after another, I kept thinking "There's no way this can be real. Where's the catch? When is the "gotcha!" moment gonna happen? The "it was all a dream" reveal?". And this isn't just because I hated the writing, and that it really did feel like a fever dream watching fanfic levels of bad (actually, that's an insult to fanfic writers, tbh; they could do better) — no, it genuinely feels so incredibly fake. Even upon rewatching it and already knowing what happens, my brain still naturally keeps expecting some kinda of "sike, you THOUGHT!" moment to suddenly appear. It just.... feels "too good to be true". Dazai and Chuuya come out unscathed, and it's revealed that they were never in any real danger to begin with. Fyodor, one of our biggest threats, is dealt with supposedly for good (I say "supposedly" only because of the Jesus line, but if anything imo, I think that's just a hint that this won't be the canon ending in the manga, so in a sense he's going to "come back to life"), and Nikolai seems somewhat at peace with his death. The other biggest threat, Fukuchi, is also dealt with, and he and Fukuzawa get their final moment together of closure. Yes, Sigma is left in Meursault don't even get me started on how angry this alone makes me, and Fukuzawa loses Fukuchi, but overall, everything is portrayed in a positive light, and any negatives or losses are quickly glossed over. Everything is tied up nicely, neatly, and smoothly. ...And that is exactly what makes it feel so wrong, and hard to trust in.

I'm not sure if this will make sense, but to me, the finale is so incredibly poorly written that it almost feels.... intentional. It's so bad to the point of feeling self-aware in how bad it is, how unrealistically happy and convenient an ending it is. It had to end this neatly in order to rush to wrap up this arc for the season finale and not leave the last episode on a cliffhanger — which imo is chiefly the main reason it turned out this way, and, if this whole theory is true, Asagiri just used it to his advantage — and I'm not saying this was probably an effect Bones had in mind intentionally, I'm sure they just threw shit at the wall and went with whatever stuck, maaaaybe with some suggestions/approval from Asagiri, but the result is that you have a conclusion that contradicts so much of what was set up before and goes against so many character arcs, making some characters so out of character and even regressing in their development Dazai. I'm talking about Dazai abandoning Sigma, because he would never; hashtag #NOTMYDAZAI. Also Nikolai, Nikolai for most of that is so ooc I can't even begin to describe it oh my god. Everyone is OOC to a degree though lmao, and opens so many plot holes, to the point that it's impossible not to watch all that and get the feeling that it is subtly saying to you "did you really think it could be this easy? It feels wrong, doesn't it? It doesn't feel satisfying. It feels unearned." I find it incredibly interesting and suspicious in particular that they confirmed multiple theories people had about soukoku in Meursault: that Chuuya slowed the elevator's fall so that Dazai wouldn't die from it, that Chuuya slowed down the bullet so that it only penetrated Dazai's skin and not his skull, and that the both of them used Fyodor's camera angle to their advantage because they knew he wouldn't be able to see certain things from his view. I'm not saying that Asagiri trawled BSD twitter and tumblr after those chapters dropped for the most popular theories before the final episode was made lmao, there was no time for that (imagine though lol—), but I do think it's highly likely that he already had in mind exactly what theories would be made about these parts (I mean, the evidence for the gun scene was all there), and that Dazai rattling them off in his long monologue to Fyodor at the end is essentially him speaking to the audience and going "yeah, that's what you would predict, right? Those are the clichés, after all", much like him suggesting earlier that he can maybe bring Chuuya back to himself with a few moving words and the power of friendship, and Fyodor using the split personalities trope to fool Sigma. We expect these tropes to be true. Of course we'd fall for them, as Fyodor tells Sigma, especially if the evidence is right there. But Asagiri himself has explicitly said that he likes doing the opposite of what people expect. And so just because people predicted correctly with the three things I mentioned in this timeline... doesn't mean they'll be true in the manga's. Things happened how we wanted and expected it to, and everything turned out happily. So we can relax now, right? Everything will work out just as easily in the manga, right? Or... is the reason most of this finale feels so fake and unsettling and unsatisfying because it's meant to lull us into a false sense of security before all our heroes lose in the manga? Because deep down, we don't want an ending that's this simple, because we'd rather have a conclusion where our characters have struggled more and grown more and come out the better for it, and we know it?

After rewatching the episode a lot, and watching some other videos, and doing a lot of thinking, I am pretty confident in suspecting that the only part of this finale that is actually from manga canon, aside from Aya jumping off the building of course, is Fyodor and Nikolai's exchange after Fyodor leaves Meursault — specifically, them talking about Fyodor leaving Sigma behind, and their "new game" and Nikolai being excited at the prospect of it. This little conversation actually feels in character for them, and it's easy to tell this when contrasting it with everything that happens immediately after, wherein Fyodor is fatally stabbed, and Nikolai, completely at odds with what he was just talking about, just... stands there and watches Fyodor die while Dazai monologues lmao. I'm not sure if the helicopter is still a factor, but I would bet good money on Fyolai getting out of Meursault being manga canon, and that Dazai and Chuuya getting out as well and killing Fyodor + everything with FukuFuku, is part of the anime original ending, in order to wrap up everything positively. It makes much more sense if you think about, in reality (aka in the manga), Dazai and Chuuya still being left behind in Meursault (where they can eventually try to get Sigma), because none of it was an act and things did not go according to plan, and Fukuchi having an entirely different goal that doesn't feel so stupid and contradictory to his character, and Fukuzawa possibly dying — everyone seemingly loses, with Aya still being the last hope, perhaps by awakening her ability like we all speculated.

There's a youtuber I watch who covers BSD in-depth, despite being an anime-only (she reads the respective manga content after each season, though). Going into this finale, she knew about the fact that the anime had overtaken the manga, though she didn't know where the cutoff point was; despite that, however, she made predictions about what was from the manga so far and what was anime original, and it was almost entirely spot-on, based mostly on what she basically described as "anime original dialogue." She talked about how you can always tell when dialogue is veering into the realm of anime-original, because the sentences are very short, choppy, and slightly out of character, but generic enough to not be TOO out of character, and so that anyone can easily write said lines, even if they're not extremely familiar with the character like the original author would be. And when I heard this explanation, everything clicked — because so much of this finale has dialogue like that. The Fyolai scenes just feel peppered with it, around the lines I mentioned earlier, the Dazai dialogue does too, and ESPECIALLY shit at the end like Fukuchi and Fukuzawa exchanging the cliche death lines to end all death lines: "Are you there? I'm a little tired." "Rest up." That just isn't Bungou Stray Dogs. That isn't Asagiri. BSD is cheesy at times, yes, but it isn't like this; it's smarter. The dialogue is smarter, the explanations/plot twists are smarter, Asagiri is smarter, and the aforementioned youtuber I watched agreed. She's a pretty casual fan of the series, so if even she could pick up on these things, I think it speaks volumes.

I mentioned this briefly earlier, but this theory makes sense if you consider that this situation probably came about because of Bones wanting two seasons back-to-back when they did, and this arc being as long as it is. Season 3 aired in 2019, and I imagine Bones would have wanted season 4 in 2020, and might have then been willing to wait a bit longer for season 5 in order for more of this arc's manga chapters to come out — but then covid happened. Because of that, season 4 was delayed to 2023, creating the longest gap we've had between seasons, and I wouldn't at all be surprised if the delay made them want season 5 right together with it, after getting so far "behind", so to speak. S4 was announced in November of 2021, and roughly around that time, Asagiri was finishing up writing the plot of the DoA arc. If Bones came to him sometime in late 2021 and said they wanted two seasons now (so basically, one giant two cour season), Asagiri would know that not only of course would this arc not be finished publishing in the manga for a very long time yet, but that roughly 20ish episodes would not be enough to cover it all to the end, with this arc being longer than any arc the anime has adapted to date. Because of all this, and the arc manga chapters being nowhere near fully drawn to completion, he'd have to make a decision about what to do, and what to give Bones. Without ending season 5 on a massive cliffhanger that wouldn't be resolved for years until an eventual season 6, the only other option would be to rush towards an anime-original ending for the DoA arc.... and for Asagiri to take advantage of that, and integrate it into BSD's lore. Thereby creating a truly unique cross-media experience that utilizes the different mediums to create multiple timelines, that could make both the anime and manga interact with each other and become part of a bigger picture (not that you'd need to see both to get the full experience, mind you, just that it'd provide a little bonus if you did).... and would without a doubt be Asagiri's biggest surprise yet.

...I feel like at this point I'm starting to ramble, and my evidence become more and more incoherent and less substantial lmao, so I should probably end this post. 💀 Thank you if you've read this far, and hopefully it made some semblance of sense, despite not being structured very well; I know I promised at the start to try to be as objective as possible and curb my negative feelings, but I'm not sure how well I succeeded in that regard. If it weren't for the Fukuchi thing and the Fyodor hand thing, I probably wouldn't take how wrong and strange and bad the finale feels to me as serious evidence about it being an alternate timeline, especially since I seem to be one of the only people who actually hates all of it.... but combined with everything else, I am just so convinced of this theory being true. It started off as pure copium, but as more time has gone on, I fully, 100% believe in my bones (ha) that there is no way that finale is the same Bungou Stray Dogs I know and love, for so many reasons. It just isn't. It can't be. I know BSD better than this, I know Asagiri better than this, and I know that it's absolutely in the realm of possibility for him to cook up this whole scheme to completely blindside us with in the upcoming chapters, because that's exactly the kind of shit Mr. "Please Be Surprised!" himself would pull. If I end up being completely wrong, I guess I'm wrong, and you can laugh at me all you want then.... but I just know that ages ago people were teasing the idea of the anime operating on a different timeline from the manga, and I truly do think that only now are we finally seeing that idea come to fruition, as a setup for Asagiri going full-bore insanity with the Book in the upcoming arc(s). if I and the OP of that theory end up right, this will be the wildest time in the BSD fandom's history.

Like. I cannot even emphasize how hard they are trolling us at this point. Something is going on. Something is being cooked over there, the likes of which we've never seen before... and I don't think any of us are ready for it.

Oh yeah, and one last thing of note: both Fyodor and Nikolai here have their right arms hidden from view. Is that alluding to anything? I'm not sure. I also think that since chapter 110 was so short, next chapter will likely be 110.5 instead of 111, and if that's the case, this title spread could still technically be associated with the next chapter... wherein we might see this Fukuchi, who ends up wreaking havoc, right before he jumps to the timeline in the anime, as we see him at the end of the s5 finale.

I guess we'll find out on Tuesday.

#bungou stray dogs #meta #bsd season 5 #bsd s5 spoilers #alternatively titled 'when you copium so hard out of stewing in your denial anger and grief that it becomes reality' #is it still copium if there's strong evidence for it? idk #i DON'T know what i'll do if the stuff in this finale ends up being canon :))) make no mistake about that #but until the very moment the schrödinger's cat box is opened and i am forced to acknowledge it with my own two eyes in chapter 111/110.5 #i am choosing to stay calm and rational and look at things with a sound mind... and acknowledge all the signs that are there #of which there are so many #Asagiri is a troll. he has always been a troll and this is more evident than ever lately #and he would know that everyone who watched the finale would take it at face value #never expecting it to go completely differently in the manga #and he's so much smarter than what was in that finale. he would never write those things. i would stake my life on it. #i don't care how many flaws BSD does have that i do acknowledge; he is a good writer in so many ways and he is so much better than /that/ #i could fill an entire BOOK (ha ha) with all of the reasons why this finale does not work. seriously it is a never-ending can of worms #of ooc characterizations and plot holes and abandoned threads and straight up CONTRADICTIONS with what has been stated before in the arc #with fukuchi's motivations and presentation; with things that were happening in meursault; just.... so much illogical shit in general #THE MACHINE HEALED THEIR WOUNDS??? ARE YOU FOR REAL???? #*sigh* but i said i wasn't gonna rant alskdjgfkdls #tbh though the only REAL thing i need to know that the finale was anime only was what the youtuber i watch pointed out: #that Bram magically regenerated all his clothes. because if it were Asagiri Bram would be naked from the shoulders down fjdkslsaskd #...anyway. This theory is real and true. I am manifesting it into existence 🙏🙏🙏 #Asagiri my man...... you have never let me down yet in all the years I've known your series. Please don't let me down now. #I'm trusting in you more than ever right now...... and your ability to blow all our minds in the best possible way #(guys i'm really really really scared deep down; please hold me hahaha ahahahahaaaa- *cries*) #this would the coolest thing in the history of ever though if it happened though. I am SO EXCITED FOR THE POSSIBILITY!!!!! #ASAGIRI YOU SICK AND TWISTED MF; HOW DARE YOU MAKE ME BEG FOR MY FAVES TO SUFFER JUST SO THAT THIS BAD WRITING DOESN'T BECOME REALITY!!!!!! #he knows exactly what he's doing *SCREAMS* :))))))))

[aotopmha]

To Your Eternity Volume 1 and 2

What first made me into someone who likes anime (and later manga) was that it kind of felt like an animated novel. Anime had long-term storylines, developing characters and meaningful themes it explored just like any novel/any book, for which I already had a strong affinity.

I remember the exact moment I had this realisation, too – it was when I was first watching the end stretch of One Piece's Arlong Park arc.

While I had seen cartoons and other children's programming by the time I started watching anime, they had been episodic and comedic, to me also very unlike books, which I associated with 'meaningful' storytelling.

'Western cartoons' in particular were fun for me to watch, but even when I was very young, many of them felt 'fake' and 'empty' because all of the characters in them felt like 'characters' and not like 'people' like in the stories I read or had read to me. I liked 'fairy tales' in books more than in those specific cartoons.

Little did I know at the time, manga had the secondary name 'graphic novel', as did western comics before it.

It was a form of novel.

And reading these two volumes in their physical form gave me the exact same feeling as any of the many fantasy novels I read when I was young or I even get when I read them now.

To put it very simply, physical manga hits pretty different.

These are the first two physical volumes of manga I've ever owned and read through, and while I've seen the effect and technique of something like the concept of a page turn discussed here and there, I feel many people don't really talk about it in much detail.

Unlike the act of even flipping through digital pages, which often either come in a pair on a page or you simply click through, even the act of flipping the page is part of the experience.

Panel pacing and sectioning in itself can be used to invoke feeling. Even the decision whether to use speech bubbles or simple text can influence how the story feels. Novels have prose, but manga have panels AND prose. And just like good prose accentuates the important moments in a novel, how panelling and art is used accentuates the important moments in a manga.

Physical manga is indeed simply another medium for storytelling and I'm happy to much more directly understand how it feels now that I've read these two volumes for myself.

This is a story I've already seen and already know in anime form, but I'd be curious to get to one I'm completely blind on.

In fact, I think I'll make this series one of them. I very rarely drop series because of production values, especially if the writing is great, but the first 7-8 episodes of the second season especially were such a painful example of production values slowly dropping so below even the most passable and ruining a powerful/interesting script that I ended up dropping it.

But to talk a little bit about the story itself, I still think it has a really unique premise.

An 'alien' being (called 'The Orb' in the story) cast to Earth to become 'something' is a fantastic vehicle for exploring the rainbow of the human experience because it is a being outside of it.

And while the story starts off with two fairly simple and less unique shorter-term stories within this unique premise, it immediately has perspectives, questions and ideas it wishes to explore all under the the umbrella of the question: what is it that makes people, people?

The desire to be remembered. The desire to belong and to not be alone. The ways in which tradition can be hurtful. And the journey of dealing with loss.

All themes that can be very powerful when executed well, like any other.

I think it's a fantastic starter on the thematic level in this sense: just like The Orb itself, the story starts from exploring the most basic concepts that not just people, but all sentient beings are effected by and slowly works itself up in terms of thematic complexity.

As said, this is also a graphic novel, so you're not just paying for the writing and panelling, but also the art itself.

I think the strongest aspect of the art in these volumes is probably the panelling itself, but I really like the animal drawings and the uncanny/body horror aspect surrounding Fushi's inhuman origins.

The wolf and bear look suitably creepy and intimidating depending on the context and all of the fleshy and bloody messes involving our protagonist appropriately horrifying.

I think it's a great start to a story about a great many things I absolutely recommend provided you don't mind violent imagery, especially if you've yet to watch the anime counterpart (although I do think at least the first 2/3rds of the first season is still worth checking out).

#To Your Eternity #Fumetsu no Anata e #Manga

[tamuramachi]

Top 10 Manga Picks: the Origins of Manga-Loving Yumi Tamura!

Loosely translated from the Da Vinci Magazine August 2020 issue.

"Tamura has been creating works that span mystery, horror, fictional warfare, action, and fantasy genres. What kind of manga has she been reading up to now? We asked her to introduce the 10 works that inspired her to start drawing manga, as well as what she considers her heart's bible. Includes comments from Tamura herself!"

Yumi Tamura's Comments:

1. Cyborg 009 by Shotaro Ishinomori

"When I was little, I watched the anime first and loved it, and then I read the manga around the time I was entering junior high school. I wanted to be 003 and go into battle with friends in the same way. I feel like it was my emotional support during the period of my 2nd year in junior high when I was having a hard time and ran away from it all."

2. Lolly no Seishun by Kimiko Uehara

"When I was in the 3rd or 4th grade of elementary school, Uehara drew a lot of one-shots in Betsucomi ('Lolly' was a weekly comic), and they were so interesting and moving every time that I was constantly in a state of emotion. I think because of that, I began drawing manga in my notebook, splitting up the pages into panels. Dramatic & rich with emotion, the depicted characters by Uehara, whether men or women, are full of charm & utterly brilliant. The energy and willpower of the female characters is really wonderful."

3. Thomas no Shinzou by Moto Hagio

"Of course I love 'Poe no Ichizoku' & '11-nin Iru!' too. Needless to say, Hagio is the greatest treasure. When I was in the 1st year of junior high, my friend & I were crazy about 'Thomas'. I liked Juri and my friend liked Oskar... we talked about going to Germany someday. It links together my own happy memories. I'm sure I didn't understand everything Hagio was trying to draw, but in the end, even now I cry at the image of Juri smiling faintly in a small panel."

4. Hamidashikko by Jun Mihara

"To me, this work is like the bible. It relentlessly strikes the deepest part of the heart and brings forth a flood of pain and tears. It wraps you up in a warmth that's helplessly miserable, sorrowful. Sincere gazes and intense dialogues. The power of the dialogues is truly unbelievable. The way the dialogues are presented along with the drawings make the best use of that power. Mihara's careful thoughts are at the root of all this. Even though I'm already this grateful, I will never get used to it. It's just amazing."

5. Kyoufu Shinbun by Jirou Tsunoda

"This is the most terrifying manga I've ever read. It's so captivating, & even decades later, it's still ingrained in me. There are various scenes that I'll recall whenever something happens. My younger sister & I would look at each other & go like ‘it's that’ or ‘that one scene, right?!’ & it would send shivers down our spines. We're already at a level of trauma. It's uncommon for a main story line to be most interesting while introducing all sorts of horrors."

6. Hyouryuu Kyoushitsu by Kazuo Umezu

"If I was told to read a manga now that would make me cry right away, then I would choose this one. Particularly the last scene of the mother crying. This work is unbelievably fierce, grand, rich in ideas, & just too fascinating. And the themes are so broad & deep that it makes you think about many things. It's a rare transcendental masterpiece that will, in the end, leave you feeling comforted & positive, thinking ‘it was a good ending,’ even though the journey is extremely scary & painful. Also, my contempt for Sekiya is strong.”

7. Macaroni Hourensou by Tsubame Kamogawa

"This is explosively entertaining. Fun. Cute. Cool. I love it! 25-year old Toshi-chan is the best! He's so cool. I don't know how many times I've read this. I still say the lines out loud even now. This is a very popular work that I can only describe as fun. There are not many other gag manga that make me burst out laughing quite like this one. I love it!”

8. Akaaka Maru by Minako Uchida

"I just can't stop admiring this work in general. The drawings, the rhythm, the stunning midpoint [?], the ability to think in a scientific way. And the proficiency of observing people. I admired it so much that I tried drawing contours of people & handwriting with permanent markers & brushes, but my drawing skills were so different that I ended up with nothing but doodles. ‘BOOMTOWN’ & the short stories are also very interesting & fun!”

9. Genji by Yun Kouga

"Innovative, I thought. I could clearly understand it. Kouga seems to be the kind of person who has a lot of sense. I've always thought it was amazing how her work & she herself had leadership qualities of the time to pull others along. I would very much love to know what kind of ideas Kouga has in mind for the rest of this work, since it hasn't been completed yet.”

10. Nodame Cantabile by Tomoko Ninomiya

"There was a period when I was having a very tough time, & it got to the point where I was having unhealthy thoughts like, ‘Is manga even enjoyable?’ But then this work came along & I was like ‘Aah, manga is fun after all! Thank goodness, I'm okay!’ So, this is a super popular & famous work to which I owe a debt of gratitude for making me realize & genuinely feel this way. I think it would be the greatest if I could portray the world in a similar way with such thoroughness. I envy that power of Ninomiya's! It's magnificent!”

Additional side comment from Tamura (in the speech bubble):

“I wanted to include the Bijohime series (Hana no Bijohime) & PARTNER by Tomoko Naka too! (I think it's obvious that these have an influence on my characters.) Other works that also left a strong impact on me are Ryouko Yamagishi's Arabesque; Yuko Kishi's Tamasaburou series and short stories; Rising! (Saeko Himuro/Author, Kazuko Fujita/Artist); the Palm series (Yasei Kemonogi); Astro Kyuudan (Shirou Toozaki/Author, Norihiro Nakajima/Artist); & Dark Green by Junko Sasaki. Makoto Kobayashi's Judo-bu Monogatari & Nanae Haruno's PaPa told me are also excellent! There’re also many other works that I'll never forget, such as those by Shinji Wada & Udou Shinohara, which have all influenced me in some way. I've always loved TONO's Karubania Monogatari too.”

#Yumi Tamura #Tamura Yumi #Cyborg 009 #Shotaro Ishinomori #Lolly no Seishun #Kimiko Uehara #Thomas no Shinzou #Moto Hagio #Hamidashikko #Jun Mihara #Kyoufu Shinbun #Jirou Tsunoda #Hyouryuu Kyoushitsu #Kazuo Umezu #Macaroni Hourensou #Tsubame Kamogawa #Akaaka Maru #Minako Uchida #Genji #Yun Kouga #Nodame Cantabile #Tomoko Ninomiya #Tomoko Naka #Ryouko Yamagishi #Yasei Kemonogi #Junko Sasaki #Makoto Kobayashi #Nanae Haruno #TONO #Shinji Wada

[red-dia]

hi! i've always loved your hnk panel redraws and recently i've been so inspired by them that i've tried my hand at coloring some panels too! if you don't mind me asking, do you have any tips?

oh i certainly do! some of these are a bit generic/art related but they’re definitely useful in this case too. I’m adding a read more because unfortunately it got a bit long but here you go:

1) Get to know your tools!

Since you weren’t very specific, I’ll assume you aren’t too familiar with art softwares (and if you are, you can just skip that part it’s not That deep). I’ll start with the basics; I know this is obvious, but please bear with me, because understanding how your program works WILL make you a lot more efficient.Here are quick descriptions of some features I think are very useful - I use Clip Studio Paint, but I believe most programs have equivalents. If you don’t know them, please experiment with them, they’ll come in handy!

- Locking transparency :

Locking the transparency of a layer means only the parts where something is already drawn can be modified. Basically, you can recolour something that already exists in a rather precise way.

This is very useful for gradients, which I’ll talk about a bit later.

- Clipping layers :

This gives the same result as locking a layer then drawing over it, but the difference is that you use more than 1 layer ; one as the bottom layer, defining the part of the canvas you can draw on, and the others, clipped on top, where you’ll draw. This can be more practical than locking transparency, because if you have a lot of details to add, doing everything on a single layer may make things more difficult.

I use this a lot when I shade, but just like gradients, I’ll bring that up later.

- Layer settings :

These options change the way the colours on a layer blend with the colours below. As an example, addglow is pretty good for colouring very bright light sources or for adding highlights on gems  :

Basically, using those isn’t a necessity, but they’re still pretty useful so I’d recommend experimenting with them whenever you feel like it!

- Magic Wand : 

Not the most complicated to use, but damn it’s really useful. It allows you to make selections based on the colours you’re targeting, so basically, if you need to colour an entire area a certain colour, you can just select it from the original panel, go on the layer where you’re colouring, and colour nothing but the part you selected. That’s about it!

There are lots of others, but these are the main ones you need to know about when you’re getting started. 

2) Colouring stuff

This is where it gets interesting! I guess! I’m not too good at just coming up with these kind of tips, so I’ll illustrate with some colouring, hopefully it’ll help you out?

I usually colour in 5 parts : 1) Preparing the panel(s), 2) Applying flat colours, 3) Adding gradients, 4) Adding shading, 5) Finalising with details.

I always prepare pages in the same way: first, I use the magic wand to select everything i do NOT want to colour ; the frames around the panels, the speech bubbles, the sfx, etc. Once they’re selected, I copy them, and paste them on a new layer. Then, I select the original layer, and turn it transparent so I can colour below while still keeping the lines. To do that, I go in Menu > Edit > Change brightness to opacity (in CSP at least, it depends on your program tho but most of them support this, I think!).

I end up with something like this : 

Two layers, one on the bottom with the semi-transparent page, and another on top, with everything that I don’t plan on touching. On the page on the right, you can get an idea of what it looks like when you add a layer below these 2 and draw on it.

Now that I’m done with the panel, I can start adding some (flat) colours. 

I think it’s a good idea to start with the background, because it’ll help you figure out the feeling you want to give the panel.

The airbrush is a pretty good tool for gradients btw, just make sure you use a brush that is big enough so the transition in colours looks natural.

Next, I add a new layer, and colour the shape of the characters (and here the vessel as well), so it stands out from the background. It’ll make colouring less complicated, since the lines will be clearer.

As you can see, I was kind of confident, so I directly added a gradient. The bottom of the panel is a bit “darker”, because I wanted the main light source to be the reflect on Phos’….. head thing?

Here’s something kind of important about your choice of colours : if you’re colouring an area that is already shaded in the original panel, I would recommend taking a colour that is more saturated than it should, or else the colour may end up looking dull because the original shading will make it darker.

Next, I do more flat colours. Nothing too fancy, and pretty much everything is on different layers. The clothes are left uncoloured because the background colour already fits, so it’s okay honestly

Then, I added some gradients using clip layers :

As a reference, I used some overlay layers for Dia’s hair, and some addglow layers for Phos’ alloy.

I mean it when I say gradients are important! They make your colouring feel more complete even when they’re barely visible. quickly coloured bortz for reference, assuming tumblr won’t compress the colours too much:

the bastard on the left has nothing but flat colours. They’re nice, but when you’ll have shaded everything, chances are it’ll look kind of …. i dunno, like something is missing? So yeah, gradients : good, though i would recommend you keep them in the same tone as the base colour. I’ll talk about this a bit more later if i don’t forget.

Ok! next: 

I felt like golden colours weren’t quite fitting the mood, so i added a layer with blue on top of it to make it colder. It’s at 40% transparency, so you can still see the colours behind well enough. Some parts were slightly erased because i liked the idea of these parts being lighter (you can see it a little bit around phos’ neck, or above dia’s knees : these parts are yellower than the rest of the pic)

I added some shading! Nothing too fancy. also not to sound like some gradient-freak but you can add some of those in shading as well, it’s usually a nice touch.

After than, I added some lightings, which are on a layer clipped on the original manga panel (so basically only the black parts of the original image changed colours, and the colouring work I did on the layers below wasn’t really affected, if that makes sense?)

The red lighting is the obvious one (it’s an airbrush, and i used an eraser to clear the part near Phos’ head so it looks like it’s coming from above/behind them and not from themself). 

There is another lighting at the bottom, which is grey/blueish, to contrast with the warm colours on the top of the pic. it also kind of looks like smoke but yeah

Now the panel is mostly done, and I’m starting the “details” part.

Something I find really bothersome in the manga is the *original* shading : while it’s always really good, colouring under it will leave some grid of pixels on top of your colours, so to counter that i just colour on top of the grid by colour picking and painting on a layer above the manga layer.

It’s a bit tedious but it has a texture that makes it look like a painting. The downside is that the colours can be altered since you’re colourpicking from something with an irregular pattern, but it can end up making your panel look less boring, honestly, it just depends on what you’re aiming for!

I end up with something like that : 

And then it’s just. Whatever man. I added a black border and some highlights, sparkles, etc, it’s the kind of things you do when you’re basically done. 

For the technical aspect, I’m not sure I have a lot more to add. If you want some advices for picking colours, tho…

3) General colour stuff :

These are just recommendations! Licherally these are mental notes i came up with ever since i’ve started colouring, so they’re kind of personal and if you don’t follow them you’ll be fine, i suppose. But so far they’ve been useful to me so consider them whenever you’ll be colouring something:

- Do not use pure white! Unless it’s for something CLEARLY meant to stand out, such as the frame of your pages, a speech bubble, sparkles, or a light source/something very shiny. If you’re just colouring something that is not meant to draw attention, use some other shade of white, but not the  #ffffff one if you see what i mean?

- Same about pure black, to be honest. 

The shades circled in red tend to look “emptier” than the ones circled in green (here the hue of the colour is yellow but it works with most colours). It doesn’t mean you can’t use it, just, use it sparingly or it may make things look dull I think? I would recommend trying a few shades before taking a decision.

- Sometimes adding highlights where the shading starts can make the transition look smoother: 

- Even if a panel is already shaded in the original page, I would recommend shading it again, because the manga shading is a black shading and shading a coloured drawing with black usually doesn’t look that good. (hence why i said something about using saturated colours in shading earlier).

- Even if a panel isn’t shaded in the original page, consider shading it anyways, even if it’s just a very light shading. It’s worth it :o)

I’m running out of things to say oh well

#i didnt mean to write so much. it just happened i hope it's not a pain to read #also i hope it was clear but if it wasnt. (points @ my inbox) #whenever people tell me theyre getting into panel colouring i go... [powercry emoji]... its really fun and honestly i dont see that many #ppl into it so i get really enthusiastic ? thats it #personal #asks