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dongsofsevotion · 24 days

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241201 gh otokomae uke anthology

the contributor lineup for the upcoming ginhiji otokomae uke anthology coming out in december has been announced, and it's a doozy.

this is a pretty crazy lineup, because it includes a bunch of names who haven't been active in the doujin scene in years, as well as others who have moved onto different genres.

since this is fun and exciting and deserves to be hyped up, here is a hype post‼️ celebrating the creators‼️ names are linked to their entries on this blog if they have one, or their twitter if not.

artists

writers

staff

tachikawa | motamiko | mico

this anthology is due to be released at dozen rose fes in december, which will be the next azuki mayo event.

#ginhiji #doujinshi event

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mukuuji · 2 months

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My new SKYRIM / Starfield doujinshi will be distributed at 洋ゲーフェス(Web Doujin Event for Non-Japanese Games) on May 11th!

Please feel free to come and enjoy the event, or visit my online shop.🥳

#fanart #the elder scrolls #skyrim #oblivion #starfield #doujinshi #doujin event

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randomnameless · 2 months

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Favorite example of Edelwanking in the Fódlan games?

Mine still has to be Seteth saying that she must be a kind and trusting leader because her troops were willing to die to protect her, meaning they all liked her on a personal level; this is despite the fact that Seteth should also know that Adrestia is currently a hell-hole where anyone who isn't in the army is starving and being tortured by Thales, which is a much more likely reason for her troops to not be willing to disobey orders than loyalty.

Seteth saying this when, as the player, we know Baldo'n'Waldi were fielded is just completely bonkers and really one of the lowest points for him, but that can be written off with "everyone has to hold the idiot plot ball at some point, else the player cannot drink Hresvelg Gray".

Imo the worst still comes from VW!Billy lol, with the uwu choice "I don't want to kill Supreme Leader" and "Can't we walk with Supreme Leader?" when, at this point, Billy's concerned about Rhea's safety, didn't interact with her more than they did with Dimitri and Bernie, trounced BL students scot free in Gronder because Claude has myopia and either killed Bernie or witnessed her being flamed, the entire schtick with Flamey and Jerry, Baldo'n'Waldi, etc etc.

Nopes!Dimitri takes a hit too, iirc at some point he mentions he doesn't disagree with her reforms (but disagrees with her methods?) but what are even her reforms? Random Joes being able to climb "dah ladder" and become something else than randoms? Get rid of corrupt noble? Can someone tell me why Waldemar'n'Leopold are still here - nobles so corrupt that they betrayed their Ionius for ~reasons~ and now kneel in front of his daughter for ~reasons~ (Tru Piss reveals Leopold governs over Leicester!).

Heck, Barney is still a nobody - despite being an OP random - but Leopold is a general and the Minister of War, and he gives his heirloom to... his son, and not to Barney who showed more merits and has more achievments than Nopes!Caspar.

Honorable mention to Rhea's "maybe the war was my fault" in the worst support -> the game will not tell us what she was doing during those 5 years (that's why I jokingly say she had zumba classes for 5 years in Enbarr's finest resort) but it sure spends even one octet having her taking the blame for, well, Supreme Leader's war and even suggesting those actions can be "justified" by Rhea's own actions...

GG game, victim blaming at its finest.

#anon #replies #victim blaming and Fodlan is like ice cone and ice cream #I think it's part of the mandatory 'everyone must uwu!' the game really tried to hammer #even if earlier he chewed Billy out in SS for not wanting to terminate her #besides Seteth fought Nemesis for 100 long years #'maybe he's a great person with ideals bcs people follow him uwu'#yeah and?#Remember demonic beasts? Neither do we!#coming after FE15 where Sonia's goal was to help the witches #demonic beasts are just *there*#if you're interested someone made a doujinshi #about the lives of randoms under Supreme Leader's empire #I think it's discontinued but i like the author's depiction of several events #like how demonic beasts are made what are the information campaigns etc etc #FE16

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fullscoreshenanigans · 5 months

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Finally got around to getting all of my TPN doujinshi in one pic

List of titles below the cut (ordered from top left → bottom right):

Title 1: The Paradise Never ends Circle: TinyArchange Authors: むらさき (Murasaki), 新川* (Shinkawa*), せんぎり (Sengiri), 荒瀬 (Arase), ると (Ruto), M2ya Ships: Noremma, Norray, Gen Full Score Trio Release Date: 2019-12-28

Title 2: snow Circle: にじぎん (Nijigin) Author: こめ (Kome) Ship: Rayemma Release Date: 2022-6-12

Title 3: シリウスの子 (Eng: Son of Sirius) Circle: にじぎん (Nijigin) Author: こめ (Kome) Ship: Rayemma Release Date: 2023-8-11

Title 4: フルスコアCPアンソロジー【家族以上の君だから】 (Eng: Full Score Coupling Anthology [Because you are more than family]) Circle: マシュマロ工房 (Marshmallow Workshop) Ships: Noremma, Norray Release Date: 2019-5-4

Title 5: beautiful days Circle: にじぎん (Nijigin) Author: こめ (Kome) Ship: Norrayemma Release Date: 2019-7-14

Title 6: さよならの向う側。 (Eng: Other Side of Goodbye.) Circle: にじぎん (Nijigin) Author: こめ (Kome) Ship: Rayemma Release Date: 2021-11-28

Title 7: worried people Circle: ATTAY Author: ふう (Fuu) Ship: Rayemma Release Date: 2019-6-1

Title 8: Play For Corpse (Prey For Corpse? It’s divided into two sections—“Play” and “Prey”—so ?) Circle: BWC Author: まこ (Mako) Ships: Norray, Platonic Norman & Vincent Release Date: 2020-5-22

Title 9: HOLIDAY Circle: 名前はいらない (Don't want a name) Ships: Noremma, Norray, Rayemma, Norrayemma Release Date: 2022-12-18

Title 10: HOLIDAY2 Circle: 名前はいらない (Don't want a name) Ships: Noremma, Norray, Rayemma, Norrayemma Release Date: 2023-7-24

Title 11: 手を伸ばせばそこにあるもの (Eng: What’s There When You Reach Out Your Hand) Circle: にじぎん (Nijigin) Author: こめ (Kome) Ship: Rayemma Release Date: 2019-10-14

Title 12: Dear my・・・ Circle: mugi茶 (Barley Tea) Author: ながつき (Nagatsuki) Ships: Natanna, Marknaila, Platonic Alicia & Jemima & Yvette coping with their dads’ deaths </3 Release Date: 2020-2-23

Title 13: memoria (the 209-page omnibus, the holy grail) Circle: レディビット (ReadyBit) Ships: Noremma, Norray, Norrayemma, Rayemma, Yuucas Release Date: 2019-5-4

#The Promised Neverland #Yakusoku no Neverland #TPN Merch #TPN Doujinshi #TPN #YnN #Norrayemma #Noremray #Rayemma #Norray #Noremma #FSS Chatter #Bottom row are my faves but 𝑤𝑜𝑟𝑟𝑖𝑒𝑑 𝑝𝑒𝑜𝑝𝑙𝑒 is amazing for the good missing RE Seven Walls search timeskip content 🖤🧡#This is probably it in terms of what I’m buying‚ with the exception of 𝐻𝑂𝐿𝐼𝐷𝐴𝑌3 (and potentially 𝐻𝑂𝐿𝐼𝐷𝐴𝑌4…?)#because I’m nothing if not predictable and it’s the good unabashed REN fluff and shenanigans 🖤🧡🤍#also I'm not exaggerating that Alicia & Jemima & Yvette story is the missing content I didn't know how badly I needed #love seeing any of the kids with less amount of focus on them getting to react to such a big event like that and have them fleshed out #blessed stuff; good sisters supporting each other <3

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ackerteasstuff · 1 year

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1 day to go before our Heicho's birthday and his own fireworks display on Hita Onsen Ryokan Area!!!🎉

Same the day of Megakoi19 event with "inlove with glasses 19" theme, where Japanese levihan fandom can buy and sell their own novels doujinshis and merchandises in Japan!!! 💚💜

https://www.youyou.co.jp/only/_event/?id=wall_megane19

#rivaille levi #levi #levi ackerman #snk levi #official events #japanese events #attack on titan #shingeki no kyojin #levihan doujinshi #hange zoe #levihan #hanji zoe

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celebistar · 5 months

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Event participation - Hisa-sensei 20th anniversary online event

*cracks knuckles* a'ight peeps, it's been about a million years since I made an actual post, but I do have an announcement to make. I will be participating in an online-only doujin event, "Sabbath on the Crossroad" - a two-day online event to celebrate Masato Hisa's 20th anniversary as a manga creator. This event will be hosted online at Picrea, which is a digital platform designed to host virtual 'artist alley' type events.

(I haven't used this before but from what I've seen I believe it is a bit like an online game world, e.g. Gaia or Maple Story, where you have an avatar and you can wander around and "browse" the booths)

The event is free, however I believe you will need to make a Picrea account in order to attend the actual event. "Doors" open on Saturday 12/23 at 5am JST and will close on 12/25 at 5am JST. Everything is in Japanese (alas) but I've found just using Google translate will be sufficient for most things. Each artist will have a separate link to their online store for purchase (e.g. Pixiv Booth)

For myself, I will have two new items (along with my previous works):

Nobunagun lolita fashion lookbook

AdaSio R18 comics collection II

Everything is currently in a digital PDF format; these will be sold through my Booth account, though for those of you who really want physical copies, I have some left on my Storenvy as well. (I am planning to submit the lookbook to the printers after the holidays)

Side note: the R18 comics are available for free download, as they are commissioned from @grapeeuphoria (and already posted to pixiv); permission was obtained for redistribution at this event.

I know it's been a million years, and I have no idea if anyone on here (save for a few folks) is still interested in Nobunagun/Masato Hisa's works, but if you're even just a tiny bit curious I hope you'll check out the event!

#nobunagun #masato hisa #picrea #doujinshi #online event #sio ogura #shio ogura #illustration book #r18 comics

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pummelingbat · 1 year

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One Piece fujoshi occupy such an important ecological niche bc they’re building a home in, like, completely infertile ground. like as far as shounen series go OP is so unyaoiable. the deep bonds between men are SO unimportant to Luffy’s journey. and yet the sheer amount of Made Up Guys in it is enough for artists to pick out a pair and go “yeah, alright, i’ll draw these two lavishing attention on each others’ bare breasts” anyways. it’s inspiring to me.

#txt #trying to catch up on 500+ chapters just to see crocodile again is so humbling like #i gave up on berserk because the BL Bait wasnt enough for my sick consumption rate. idk how im going to do this one.#im also just scrolling thru artist feeds from the ABSOLUTELY MASSIVE grand line cruise doujinshi event #its so so wildly impressive like good GOD

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villainshit · 4 months

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[ art by rynmglass on Twitter, go follow her, she's wonderful ]

#so I went to another doujinshi event #sopffo #stranger of paradise #jackstos #big dick jack garland

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otaku-republic · 8 months

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【Doujinshi Event】TOKYO FES Oct.2023 held on 10/15! Genshin Impact, Tokyo Revengers, Slam Dunk, and MORE!

#doujin event #bl doujin #yaoi doujinshi

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suzumori521 · 2 months

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Hello!

I have made the first volume of my original doujinshi, "氷海線に生きる-hyokaisen ni ikiru-" which was distributed at an event in 2017, available for free on Pixiv. It's an old manga with many amateurish parts, so I was too embarrassed to share it until now, but since I don't plan on reprinting it in the future...

Please give it a read if you're interested!

I plan to upload the following volumes gradually once I overcome my embarrassment.

⬇️⬇️

#氷海線に生きる #original #人外 #original character #furry #werewolf

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dongsofsevotion · 1 month

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05/04 SUPER COMIC CITY 31 cont.

Since there's an annoying-ass link limit in posts and because the GH community is indomitable, this is continuing into a second post! Please see first post here. Less than a week to go!

Absolutely loving these stats that show GinHiji as the fourth biggest ship (by participant) for day 1 at 85 circles, of 175 total Gintama registrations. JJK takes the day 1 crown on both fronts (Gojo x Yuuji at 138, total JJK at 574). Day 2 is a Birth of Kitaro sweep (Kitaro's Father x Mizuki 509, total 1136).

My asks and messages are also open for purchasing questions, recommendations or any other queries 🫡

joint publications

individual publications

circle name / creator name | book title | sample (usu. pixiv) | mail order (usu. fromagee/melonbooks; will need a proxy if purchasing outside jp) | notes

covers issued, but release status unconfirmed or samples not out: 16 shiyuu 17 こけし予防 / 苔

#ginhiji #doujinshi event

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bnuuygrils · 6 days

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47news interview with Tamifull

Earlier this month Tamifull, the author of Tsukiatte agetemo ii kana? AKA How Do We Relationship?, did an interview with 47news. I've translated the full text below:

Out of the innumerable manga published every year, there are always a few titles that one simply can't afford to miss. Tamifull-sensei's How Do We Relationship? (Shogakukan) is one of these. It's a story of young love and heartbreak, centering on college students Inuzuka Miwa and Sawatari Saeko. Though fiction, it has a powerful sense of reality that leaves one feeling as if the real Miwa and Saeko might just be out there somewhere right now. If Agasawa Tea's Ramparts of Ice (Shueisha) is the pinnacle of high school romance, then How Do We Relationship? is the pinnacle of college romance. With the help of supervising editor Watanabe Saori-san, we were able to secure an interview with Tamifull-sensei to discuss the story--now on its 12th volume, and at the height of its climax.

The story so far:

Soon after starting college, mild-mannered beauty Inuzuka Miwa joins the light music club and finds herself the center of attention from the boys at the welcoming party. Miwa, who "only likes girls", is rescued from the situation by the energetic Saeko. Saeko, who "prefers women (to men)", buoyed by liquid courage, asks Miwa out on the spot and the two begin dating. But the two are clumsy and inexperienced with love, and fail to be fully honest with each other. By the end of the year, their romance has ended in disaster. After maintaining a sex-only relationship for some time they return to being friends and even move on to new partners... Finally, as their respective relationships have both ended, the two look at each other anew, not as lovers, but as exes, and as absolute allies.

47: How Do We Relationship? has a very unusual structure. Shoujo manga tend to portray a dramatic path to the start of the relationship, but Miwa and Saeko begin dating at the very start of volume 1 and break up in volume 4. As we're now on volume 12, they've actually been exes longer than they were together.

Tamifull: Well, it has stretched a little longer than I expected (laughs), but the story is proceeding as planned from the start. I think rather than starting decisively with some sort of "All right, I'm falling in love now!" moment, real love tends to build up out of small things over time. I didn't want the relationships in How Do We Relationship? to start in this exaggerated, romance story kind of way.

47: And that helps with its sense of reality.

Tamifull: I don't believe dating and breaking up are things that we need to think about in such dramatic terms. It's easy to feel like every relationship has to be perfect, or that you need to have some sort of fated encounter, or that breaking up is a bad thing, something hopeless. Why shouldn't there be manga that throws away those stereotypes? Life is so much longer than a single relationship. It keeps going after you start dating someone, or break up with them. I think that's a message that I've consistently tried to tell with this manga.

47: Can you tell us how it got to be serialized?

Tamifull: It started out as a oneshot I did for Comitia (a doujin festival and marketplace in Tokyo) in 2017. Up until then, I had mainly been drawing yuri--manga about relationships between girls. And I wanted to tell a little bit of a different story at that event. Doujinshi are generally about 20 pages, so usually you introduce the main couple, have them confess, and wrap it up right around there. So I thought, what if they're already in a relationship and we watch them break up? I was basically thinking, "why not draw what I want to read!?"

Watanabe: Ashima Yuki-san, one of the first freelance editors, reached out to Tamifull-san then.

47: At the time, yuri was considered a pretty small market. It felt like unless you got into one of the specialized publications you'd have a very hard time, right?

Tamifull: That's true. There are a lot more varied works coming out now. At the time most of these stories were actually aimed at men, so the relationships would stay platonic, or at most they might kiss. I knew stories like that were easier to market and less likely to ruffle feathers, but I found myself thinking, "If we all settle for that, we'll never get to see what happens next! If no one else is drawing it, why shouldn't I?"

47: What did Ashima-san say to you?

Tamifull: She told me, "I've been wanting to read a story where the characters and relationship feel free like this". I do remember thinking it might be more marketable without the eroticism when I was developing it for serialization (laughs). But I ended up just being like, well, let's see what happens!

47: "Realistic" LGBTQ romance stories tend to end up falling into a handful of patterns. Whether it's manga or movies, you see a lot of stories that feel like "the tragedy of same-sex love", or that seem intended to make you feel sorry for the characters. Like the audience is meant to walk away thinking, "How thought-provoking! I really learned something". But How Do We Relationship? is pretty different, isn't it?

Tamifull: Rather than being "yuri" or being viewed as an "LGBTQ story", I want people to get into the story just because they see it and go "Hey, there's girls dating in here!". Sexual minorities aren't here to be instructional materials for anyone. LGBTQ people live in the same world as everyone else. I want the characters to seem like people you might meet anywhere, and to have relationships you might see anywhere. I want the fact that the relationship isn't heterosexual to just be a detail. That's why Watanabe-san and I decided not to advertise How Do We Relationship? specifically as a yuri manga.

47: Achieving that sense of reality must take a lot of care. I imagine you have to be careful to avoid the set phrases and compositions that readers see all the time in romance manga.

Tamifull: That's true. For example, in the scene where Saeko opens up to Mikkun, their male friend, about her dating Miwa, she asks him if he finds the two of them dating "gross, or wrong, or unnatural", and Mikkun, while looking away, asks in return, "What? Do I have to feel that way about you?". The orthodox move would be to have the handsome guy character looking straight out of the page, smoothly delivering some cool line. But in real life we don't have convenient handsome guys just lying around, and you're not usually looking people straight in the eye. It's not that staged. I think the casual nature of the lines, and the casual nature of the situation, actually make it all the more resonant. I want to keep that natural feeling to the story, and I go out of my way to avoid making it feel "romantic". I think my ideal is for it to feel like a movie.

47: A movie?

Tamifull: That's right. I think one of the strengths of film is the ability to show the drama of everyday life. I always include backgrounds in my panels to try to get closer to that feeling. For instance, in a scene in volume 12, Saeko is on a boat at night looking out over the water with her girlfriend, Yuria. They're talking about breaking up. It's a very romantic setting, but the painful nature of their conversation blots out everything except for the blackness of the water. I want readers to feel like they're there experiencing it alongside the characters.

47: I see. The city you see at night while breaking up with someone certainly does feel different...

Watanabe: And Tamifull-sensei's art has really helped deliver that sense of reality to readers. There are no wasted panels: from the camera placement to how the viewer's eye is led, even the placement of the dialogue, everything serves to guide the reader to what she's showing. Due to my job I read a lot of manga, but there are very few manga artists as skilled as her.

47: Personally, as a reader, it's that sense of reality that has me praying for Saeko and Miwa to end up happy, so next I'd like to ask a little about about how you learned to imbue your writing with such reality, and what techniques you use.

Tamifull: I'll do my best (laughs).

47: First, the depth and internality of your characters. For instance, after breaking up with Saeko, Miwa dates the younger Tamaki. Tamaki is reserved and very low-energy. She's clearly at a loss with the more sexually-motivated Miwa, but nonetheless does her best to reciprocate in her own way. She's straightforward and can be a little childish, but has an intellectual side to her, as well. Accurately portraying such a complex, difficult character must necessitate having an incredibly keen eye for people. How did you learn to understand other people so well?

Tamifull: I think it was mostly my experience in school. In primary and middle school I was low on the pecking order, so I became very sensitive to other people's hostility.

47: Ah, the pecking order... That does happen, doesn't it.

Tamifull: Yes. I'd be in a group of maybe 5 or 6 friends in a class and then once every few months I'd get the silent treatment and end up being ostracized from the group, in this sort of rotation. I'd go through 2 or 3 groups and it would always happen. I think all the time I spent thinking about how to avoid being targeted like that played a big part.

47: Planning out the battle to make it out alive, so to speak.

Tamifull: I think that really helped cultivate my eye (laughs). Like, this girl's the ringleader, and these ones are joining in because they don't want to become the target themselves, but this other girl is actually nice so even when they're ganging up on me she won't join in.

47: I see. Even while you were being mistreated, you were trying to understand things from their perspective. Certainly How Do We Relationship? doesn't have any one character that you would really call a villain.

Tamifull: That's right. Take Kan, who tells Miwa "I hate you" in volume 2, or Tamaki's friend Nagi who calls her "gross" in volume 8. I think it would be too convenient if nobody was ever mean or unpleasant, so it's important to have such characters. But I also try to portray them as having their own reasons. It's not like everyone will be good to each other all the time, but for each person, there's a community out there somewhere that will accept them as themselves. I'm always including that idea, that wish, almost, as I write the various members of the music club.

47: The story has this warmth to it you can really feel, and I think that idea has a lot to do with it. That said, it sounds like you weren't always successful at avoiding bullying. That must have been difficult.

Tamifull: I spent a lot of time wrapped in my futon wondering, why do they treat me like that? As the days went by I'd end up sublimating my anger and frustration by telling myself, "They have their own problems so there's nothing I can do about it." Like, this girl might have a lot of stress at home, about her grades or other things, so she just feels too much pressure and gets pushed into bullying, or things like that. I really got in the habit of thinking about things from their perspective.

47: You are an incredibly kind person. I do think the eye you cultivated that way serves you well in writing characters. For example, in volume 3, we meet Miwa's first crush, Shiho. At home, we see Shiho being horribly mistreated by her parents, who only care for her more academically-minded younger sister, Maho. One day Maho snaps at her, saying "Don't talk back to me, moron! You know how much I have to carry thanks to your stupidity!?". But Shiho just accepts it, and keeps her unhappiness to herself. That's in volume 11, that we finally find out how Maho, who's caused Shiho so much pain, has been feeling.

Tamifull: Maho also feels a lot of pressure from their parents, and she's desperate not to fail. She's under a lot of stress from that. When they were younger, Shiho and Maho were actually very close--Maho loved her older sister--but as grades and examinations started to get involved that connection became twisted... I wasn't able to show all of this in the story, but I always think through these details before drawing.

47: That sort of thing does happen between siblings, doesn't it... Just remembering is a little painful.

Tamifull: But, as much as I analyze people like this, it's very difficult to put into words.

47: In what way?

Tamifull: If you say "Well, this person has this kind of background, so that's why they do these things" then everyone will be like, "And what do you know about them?". You'll end up hurting feelings. So I can't say it about real people, but with How Do We Relationship? I'm the author so I can draw whatever I want. When I hear readers talk about the "realism" I'm always like, "Really? You mean I actually did it?". I secretly get a little happy about it (laughs).

47: Did you always want to become a mangaka, growing up?

Tamifull: I did always like drawing. But when I was pretty young I read one of those "So you want to draw manga?" kind of books and I got very intimidated by all the different erasers and tones and things, and I sort of gave up (laughs). It wasn't until I'd completely retired from extracurriculars in college that I realized I didn't have enough to do and started drawing manga.

47: And then you became a mangaka as soon as you graduated?

Tamifull: Yes, that's right.

47: That's quite something. Not many people manage to do that, right?

Tamifull: The reason I started attending Comitia was because in college I finally learned that editors would be there. Up until then I was working with my childhood knowledge--I thought I had to submit my work to a company and then become an assistant before I could become an author myself. When I found out I was like, "Doujinshi will get me fans and even expose me to editors? What could be better!?". I had my heart set on it.

47: (laughs). What kinds of things were you inspired by when you were a child?

Tamifull: All the way through school I was into stuff that was a little different from whatever was in fashion. I liked watching slightly older anime on Kids' Station, for instance. Like, look at me! I'm not into the same stuff as everybody else! Aren't I cool? (laughs).

47: (laughs).

Tamifull: When everyone else was into Cardcaptor Sakura, I was watching Takahashi Rumiko-sensei's Ranma 1/2 and Maison Ikkoku. I remember when I read one of Ito Junji-sensei's works at a relative's house it left a big impression on me. When I was in college I bought the collector's edition of Tomie at Village Vanguard.

47: You grew up into a bit of an alt college student.

Tamifull: In college, going to Village Vanguard and fishing for manga nobody else had became something of a passion for me.

47: What about Takahashi Rumiko-sensei's work did you like in particular?

Tamifull: I especially liked the way she drew girls. In the early 2000s, when I was in primary school, it was very in fashion for girls to be drawn very slender and light, with delicate limbs.

47: Slenderness was certainly emphasized a lot back then, yes.

Tamifull: I preferred how Rumiko-sensei drew them--a little squishy. As far as the story goes, I loved the ending of Maison Ikkoku, how it portrays the characters moving forward in life. I read it over and over. I think that passion for people comes through a little in How Do We Relationship?.

47: In the afterword of volume 3, you mentioned that from middle school until about halfway through college you lost interest in manga, and were more into drama and music.

Tamifull: That's true. Sometimes I'd draw a buff Pikachu or something on the blackboard to try to get a laugh out of people, but that was about it.

47: A buff Pikachu? (laughs). I wish I could see it.

Tamifull: At co-ed schools I think girls mostly end up ranked by looks, but I went to an all-girls high school, so... It was really about who was the funniest.

47: So art was a way of giving yourself a gimmick.

Tamifull: That's right. That continued into college, so I always had the position of somebody who's just a little bit good at drawing. In college everyone was nice, though.

47: In that same afterword you mentioned that during the time you weren't drawing manga, you really enjoyed making things together with a group.

Tamifull: In high school I was in the school band, and we'd all put on plays together at school festivals. I joined the light music club in college. I did percussion in high school so I mostly played drums, or did vocals.

47: Oooh. What kinds of things did you play in the light music club?

Tamifull: Just normal rock. Popular stuff, like Go! Go! 7188.

47: I have an impression of you as being a little bit countercultural, so rock seems perfect for you (laughs).

Tamifull: In college I was also on the student festival committee, so I was doing double duty a little bit. And as much as I enjoyed making things with other people, I started to feel this hole open up, like inside I'd be thinking "I could do this so much better...". Then I started looking into manga again on a whim and realized everything had gone digital. You don't need to hire a bunch of assistants, and you can do tones with the press of a button. It was like this new environment where I could try my hand at manga by myself was prepared just in time as I came of age. I didn't have to hold myself back for anyone, and could do everything just how I wanted. That's why I've always worked alone.

47: What!? You don't have any assistants even now?

Tamifull: I don't.

47: Watanabe-san, is that normal?

Watanabe: It's extremely precious to us. She's really something, isn't she? I don't know how she puts out so much in just two weeks.

Tamifull: I want every angle and composition just so. I can't really express it well, so when I think about trying to explain it to someone else, I just feel like it would end up taking even more time... But then sometimes I'll be working from my storyboards and I'll be like, "Why did I make myself draw it like this!?" and end up suffering a little (laughs).

47: It's certainly a work that cuts no corners. The dialogue is always so well written and moving--do you start by writing the characters' lines?

Tamifull: Yes, I do. I'll write them all out at once, then adapt them to the storyboards as I go. I think all the time I spent agonizing in my futon when I was younger like "I should've said this..." or "And then they'd say that..." might also help here.

47: You always include afterword comics and omake in the tankoubon releases, so I get a sense that you're quite particular about manga books.

Tamifull: I love manga that includes a lot of little extras. And I want readers to enjoy How Do We Relationship? as much as possible, so I always go all out drawing them.

47: Your first announced works were around 2012, and in 2014 you made your commercial debut with Don't Call me a Goddess! in Bungeisha's 4-koma magazine Manga Time. The main character, Saotome-san, is a bit of a tryhard, and as much as that wins her respect from her peers, it also tends to alienate them. Into her life barrels the far less inhibited Ryou. After that, you had My Little Sister and the Sex Doll (Shueisha) serialized in Tonari no Young Jump, about an innocent and naive high school girl and a talking sex doll. Both manga were comedies.

Tamifull: How Do We Relationship? was a little bit of a break in genre, yes (laughs). My Little Sister and the Sex Doll also started as something I made as a change of pace for Comitia (laughs).

47: It's a very rhythmical work--the talking sex doll's lines are incredibly well crafted.

Tamifull: The editors at Young Jump really liked it. It was a little more crude than what I usually write, so I did have some doubts... but they were very kind in offering me the serialization. I had to exercise my vocabulary to the fullest.

47: As much as it made me laugh, I could also somehow feel your desire to break taboos coming through.

Tamifull: That's true. I was trying to make fun of dirty comics, while making a dirty comic (laughs). Even when there would be the setup for some sort of fanservice scene, with something sexual happening to the girl, I would always interrupt it with a joke and turn it into something decidedly not fanservice.

47: On the other hand, something about the relationship between Saotome-san and Ryou in Don't Call Me a Goddess! feels like it connects to Miwa and Saeko. Are you particularly fond of that sort of relationship?

Tamifull: Honestly, that was... completely unintentional. I think, when it comes to protagonists, I do like a character who is quiet, but unexpectedly stubborn... When I think about my time in school, I had a lot of experiences where there would be another girl, and she'd have this sense of separation, like a bit of a boundary around herself, but when I approached her she'd turn out to actually be really interesting. And I'd have this feeling of "Everyone else doesn't even know how cool she is!? I need to let everyone know!". I think that feeling, almost like wanting to become a producer for girls like that, has led me to write my protagonists that way.

47: You really love girls.

Tamifull: I may have spent long years in fierce battle with them at school, but when I translate it to manga they become strangely appealing. Even when they're a pain, their being a pain is good in of itself (laughs). It's true that characters who aren't straightforward can make a story more interesting, but I also think that's just how people are--you can't sum anyone up in a few words. Don't you agree?

47: Your manga, including How Do We Relationship?, really don't tend to have characters that you can sum up as "the cool one" or "the tsundere" or anything like that.

Tamifull: That's right. I don't want them to be symbols.

47: And that's exactly why, in each case--Saeko and Miwa, Miwa and Tamaki, Saeko and Yuria--when they break up, it's so emotionally impactful. You can't just point at one of them and say, "It's her fault."

Tamifull: Right. In reality, lots of people break up all the time without either one really being at fault. It makes me really happy to hear that people read the story as just being how things ended up for them. It's so easy to assume that when a relationship falls apart, it's because someone's in the wrong. I worked very hard to make sure that Tamaki and Yuria would be charming enough characters for readers to like them, and to accept it when I made them break up with Miwa and Saeko. I always look at readers' reactions and think carefully about how to proceed.

47: How Do We Relationship? really feels like you want to closely examine real, "normal" relationships.

Tamifull: I think it's a pity for the socially accepted image of love to be something so narrow. When two women date, and after breaking up return to being friends, I think people have a tendency to look a little askance at them. But why is that? I always find myself thinking, "Are you okay with living like that?". With How Do We Relationship?, I wanted to create a world where Miwa and Saeko and everyone else's desires wouldn't be crushed by those around them.

47: Especially during the first 3 volumes, you often shine the spotlight on the other characters around Miwa and Saeko. Is that also a part of fleshing out that view of the world?

Tamifull: Something like that. I don't want the idea of someone who likes the same sex to be something fantastical. I want to show that sexual minorities are all around--even around you. I want heterosexual readers to also get into the story, and I was very conscious of that early on in the serialization. I think whether you're gay or straight, you can still understand this story. These characters are just like you. That's the message I've tried to send.

47: It would be really wonderful if we could become a society where everyone views each other with respect. What would that take, I wonder?

Tamifull: Delusions, maybe.

47: Delusions? (laughs).

Tamifull: Yes (laughs). This is just my own experience, but when I meet someone and feel off-put by them, I always thoroughly imagine their background. By the time I'm finished whatever anger I felt has faded, and I feel ready to treat them better--maybe even to become close with them. And if you write stories you can come up with great material this way, so it's two birds with one stone (laughs).

#tsukiatte agetemo ii kana #how do we relationship

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rassicas · 2 months

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hi guys! im back. i went tokyo for a few days. got back at 7 this morning after taking an overnight 7 hour bus ride.... that i did not sleep on bc i cant sleep in moving vehicles. this will be something closer to a proper blog post i guess. splatoon related convention? experience below

i've kept my mouth shut about my plans to go because its not as well known on the english side of the fanbase and i didnt wanna make people too jealous sorry LOL , but i went to splaket 22! it's an unofficial, splatoon-only doujinshi market/artists alley. this was my first convention-sort-of event ive been to since i was... in high school. i also dont really get to meet many other hardcore splatoon fans irl. i was nervous about it because i don't know a whole lot of people on the JP side nor do i have a lot of confidence in my japanese speaking/listening, but in the end it was SUPER fun. i wish i couldve talked a bit more to the artists i did encounter to comment on what i liked about their works but. Skill Issue very few non-japanese people at this event of course but one of the only english speakers i saw i called out to bc they were wearing a shirt with this exact image printed on it no video and no photos outside of designated areas were allowed so i got like. zero pics of my own. but there was a lot of cosplayers i saw! oh and here's the Loot Haul. a few doujin, a clear file, stickers, microfiber cloth and a keychain. im surprised at how little i got, i think i shouldve gone a bit crazier with it

the one with Tao Blu and oonie in the top left (by sachikazerick) I came across by chance and bought because it was cute, featured splatband characters, and also because it all in some familiar inkling language (the last point of which i told the artist as i was buying) when i finally got home and saw the back credits...

SMALL FUCKIN WORLD LOL (i tweeted at the artist afterwards to let him know i came by the table and to thank him for using me and my friend's inkling language fonts!) though truly, i think ardnin deserved the credit more rather than me since he made most of those fonts! ah well, still cool to see more and more fan works using deciphered inkling language. top middle book is a story with some salmonid characters that i havent read yet but im looking forward to it, the art is lovely. top right one was the first thing i bought. the artist is rk_splaworks, whose art i love, and we've been mutuals for a few years and have talked a bit here and there! i was so fucking nervous to meet them in person since my japanese sucks LMAO but they were happy to meet me too and we got a selfie together yippy <3 also havent read their doujin Yet since ill have to rub all my brain cells together and huddle over the dictionary, but i want their oc lore

ok that's all i'll say, next splaket is...june 22. very soon....im already thinking ill. go again. yknow. while im still in japan and all that. i guess ill have to study harder on my jp in the meantime teehee ...i doubt it, but in the off chance anyone following me is going to the next splaket in june lemme know!

#much of this is me cross posting my tweets from the past few days and then some #rassicas speaks #ive forgotten to make a tag for my non-ask original posts so i guess thatll be it #anyway ill get to work on translating that famitsu interview teehee

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marciaillust · 6 months

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✨ AsoRyuu doujinshi: 5 days left ✨

As promised, alongside ECDYSIS I'm bringing back the hardcover version of Event Horizon, my first asry doujin! 🫡 With the bonus print, of course!

#asoryuu #dgs #tgaa #doujinshi #ecdysis #marcia #the great ace attorney

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ackerteasstuff · 1 year

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Another celebration of Levihan big event has done today the Mega koi 4 in Osaka, you can find the exhibitions of their doujinshis, fanarts, novels and merchandises. 💜💚