We talk a lot about how the anime & manga versions of scenes sometimes have to approach a subtlety with Kiku differently. The translation for the subs really helped me get the cool way the narrator always did it as the ending. In the skies of the future, as a warrior sheathes his sword the flower petals flutter. I have my limits, but I'm curious if the original is some form of haiku. There's more than the 5-7-5 we learn in the West. The rest is about Momo clearly, but that part is so cool to me because like other points in Wano it quietly works just as well for Kiku.
In the manga, we only have to do this for a few static panels. Few enough you can have fun obscuring her more. The way we frame this shot gets all of them in and her lithe frame at the end she's on is hard to see around Neko. But I noticed we did this a few times, cut the frame in such a way she's the only one of them you really see. My pics trimmed it some but you only get Raizo's hair. It's a more direct way to nudge you with the association. I'm curious, if we don't cut a week ahead next time we see her if this might not just be setting up seeing more of what we talked about with the chapter. If you'll recall my first impression was that it felt we were visually treating her more cutesy and "Okiku" again from there.
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Detective Conan Police Academy Selection
Included cases:
Parade of Malice and Saint (Volume 36, files 366-368, episodes 301-302)
The Trembling Police Headquaters: 12 Million Hostages (Volume 36, file 369 - volume 37, file 373, episode 304)
Metropolitan Police Detective Love Story 5 (Volume 40, files 404-406, episodes 358-359)
The Life-Threatening Broadcast of Love (Volume 76, file 804 - volume 77, file 808)
Kid vs. Komei: The Targeted Lips (Volume 96, files 1018-1021, episodes 983-984)
The 36-Cell Perfect Game (Volume 97, files 1027-1031, episodes 1003-1005)
The Spark That Fell on the Ranch (Volume 99, files 1051-1054, episodes 1053-1054)
Bonus material:
Column 1: Police Academy Selection 5 people
Column 2: Detective Sato and Takagi’s Love Story
Column 3: Rei Furuya’s Profile
Column 4: 5 People Involved - File 1
Column 5: 5 People Involved - File 2
Favorite case: The Trembling Police Headquaters: 12 Million Hostages
Least favorite case: The Spark That Fell on the Ranch
Rating:
6/10 dead friends
It was definitely fun to read because the included cases are all very good. Still I think some is them are very well-fitting for the topic of this selection, but there might also be some better cases that show the people’s relationships and backgrounds. Some of the cases are just part of this volume for one or two important scenes. And I’m still mad that we didn’t get a true Takasa selection for movie 25 promo...
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The Real Horror: let's talk money.
Since Folxlore is publicly funded, we wanted to give an insight into our budget, which hopefully might help other audio drama creators out!
To get Folxlore funded we go through the difficult and time-consuming process of requesting funding from Creative Scotland, the Scottish government body for public arts funding. We’re very lucky Scotland has an arts funding body, but the process of obtaining funding is competitive and takes a lot of effort. The success rate is about 42%, and we’ve gotten CS funding twice for Folxlore, which I think is a pretty damn good feat!
Part of being CS funded means that everyone needs to get paid fairly, so we pay industry rates for all our workers, while taking into account that our industry is indie podcasts, and not professional podcast.
Interlude: are we indie? Folxlore is publicly funded, we don’t belong to a network, and the show isn’t produced by a big team. We’re 4 people, we self-produce, and our sound designer Dev from Tin Can Audio distributes the show. We pretty comfortably put ourself in the independent category, but some people may feel the amount of funding we get means we’re not. Decide for yourself!
The amount of funding Folxlore gets is publicly available. For our pilot episodes, we received £800 pounds from Young Scot (we were still young back in 2018!). This we split equally between the four of us. Ross, Syd and I got £200 for writing and recording 3 episodes, and Dev got £200 for sound designing the 3 episodes. These are in no way realistic fees, but again, we were young and new to the thing and excited we got to do this new project we’d been thinking about for a while!
Then for Season 1, we received our first proper funding.
Season 1 Total Budget: £14,538
Season 1 Funding Received: £12,479
Writers fees - £8,160
We paid our writer team £1,020 per episode, which was the going BBC rate for 11-19 minute radio plays.
Sound engineer fees - £1,600
We agreed beforehand on a fee with our sound designer Dev. They were not yet a full-time sound designer at the time, but despite this, in retrospect, I think we should have budgeted more here!
Producer fees - £966
Producing the show took approximately 8 weeks of work between two people, so this is another area where we underpaid ourselves.
Voice actor fees - £450
Our biggest oversight and biggest mistake in the creation of Season 1 was our VA budget, which was pretty much nonexistent. For the pilot series, our writers had acted as voice actors without additional pay, and so when it came to Season 1, we operated on the same model. This was not fair to our writers, as they should have been paid separately and fairly for both their writing and their performance skills (for clarity, all three are experienced in both).
We did pay the 2 VA’s who weren’t part of the writers team, from our contingency budget.
Contingency budget - £1,322
Vital to any project! We had a 10% contingency. We ended up paying some VA fees from this, as well as some marketing costs.
The rest of our budget included marketing and equipment purchase & hire, some of which were in-kind match funding from Tin Can Audio and In The Works.
For season 2, we spent a good while rethinking our season 1 budget, and requested an increased amount of funding to reflect fair working practices.
Season 2 Total budget: £27,819
Season 2 Funding Received: £22,489
Writer’s fees - £8,408
We stuck with the same writer’s fee, although with inflation this was now £1051 per episode. We initially aimed for 8 episodes, but ended up making 9, so we split the total fee 9-ways after agreement from the whole writers team.
Sound engineer fees - £2,280
We also significantly increased our sound design fee to £285 per episode, to reflect Dev now being a professional full-time sound designer. They have since increased their fee, to be more in line with professional standards.
Producer fees - £2,470
We upped our producer budget from 2 weeks to 5 weeks, which is still not quite enough, but covers us a lot more. The going weekly rate by ITC standards was £494 per week at the time.
Voice actor fees - £3,300
Our biggest change from season 1 was our VA budget. We had a total budget of £3300 for VA roles. We split this up in lead roles (£200), small roles (£100), and minor roles (£50). These were based on line-count, but also emotional intensity of the role. We roughly planned for 10 lead roles, 10 small roles, and 6 minor roles, which is about what we ended up with. Because all VAs in Folxlore do more than one role across the season, everyone received a rounded out fee based on their roles.
Marketing budget - £1,410
Our marketing budget increased significantly as well: we included more time to develop a marketing plan, more intricate marketing ideas, and more time to implement the plan under our producing fees.
Contingency: £1,205
Because we’d done this before, we could decrease our contingency budget from 10% to 5% of the overall budget.
Access budget - £2530
Another big change from season 1 is that we had a designated access budget. This budget includes the creation of episode transcripts, 1 paid day off for our core team (most of us are full-time freelancers, so this was a rare treat and something we consider vital to a healthy work/life balance), a day of work for an access coordinator for the writing & recording sessions (me), and budget for any other access needs that might come up during the recording or writing such as travel, equipment, caring responsibilities, and any access needs that were yet to be determined for our hired VA’s.
In-kind funding - £5,330
Like with season 1, we had in-kind funding for this season amounting to nearly 20% of our total budget.
There were some additional budget lines for season 2 that we haven't discussed, as they are for parts of the project we haven't announced yet.
Keep in mind all these numbers are straight from the budget we applied to Creative Scotland with: things will always change during the course of a project and they certainly have for us. Also keep in mind this budget is in pounds!
We hope that was helpful for (prospective) podcast producers out there! We're always happy to talk through how to get public funding within the UK, as that's what we're familiar with: our DMs are open!
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Episode 825: Parallels
Pinnacle of Whole Cake Island in my opinion. (please do not get me started on Katakuri vs Luffy… i was kinda disappointed when i watched it)
Anyways, i loved this episode the most, it was brimming with symbolism that riddled my silly little brain for days on end. I would like to preface that i’m not yet caught up… episode 1051 please cut me some slack. I will catch up before Gear 5 Luffy though, trust. I digress though. As i was saying, the most glaring piece of symbolism was the comparison between Sanji’s mother and Luffy. It’s not much of a comparison actually, more of a parallel. During the flashback of little Sanji running in the rain to get some food to his mother, he drops it, making it look basically inedible and gross. It perfectly parallels Sanji in the present, running towards Luffy in the meeting spot and the food being ruined from the rain.
In both situations, Luffy and Sanji’s mother ate the food gratefully, citing how delicious it was. However, in both these situations, I believe it represents different things.
Sanji, a boy who was a failure for being human.
In the first situation of Sanji’s mother eating the food that had gone bad, it represents her love for him, despite him being not as good as his siblings. Sanji is represented by the “bad” food, because of the fact he is human (has emotions and moderately athletic, in comparison to his inhumane siblings at least), not perfect like his siblings. Up until that point, his humanity was seen as a disgrace, which made him utterly unwanted by his father and bullied by his siblings.
This symbolism really hits home during the scene where he drops the food in the rain. It was an honest mistake and humans are prone to making mistakes. Ever heard of the saying, “To err is human”? That is basically it. In that one scene, Sanji’s plight as a child is perfectly encapsulated (when everyone around him puts him down for the fact he are not perfect, it is completely unfair, because humans are made to make mistakes) And when his mother accepts his dish, without question, it was an ode to Sanji, a testament of a mother’s everlasting and unconditional love. Sanji’s mother was the first to ever accept him as he is, as a human with his flaws and all.
And before i talk about the parallel between the current Luffy and Sanji interaction, I’d like to say that because of his mother, (as well as Reiju, because she was the one who eventually set him free, cried for him and basically showed that she actually cared for him like how his mother did), he has this moral obligation (doesn’t want to hurt them, believing women should be treated better than men.) towards all women. He wants to love all women, maybe as an ode to both his mother and sister, the only people who had accepted him as a child.
Sanji, a man shackled to his conflicting obligations.
Hence, with all this talk of moral obligations, it brings us to the parallel once more with the Luffy and Sanji interaction. We all know that Sanji is a man of great morality, not only that, he is extremely steadfast towards them. Where Sanji’s mother accepted him for not being perfect physically, Luffy accepts him for not being perfect mentally. OKOK I know it’s phrased weird but hear me out. Like I said, Sanji is a man of great morality, due to his rough upbringing. Hence why he feels all sorts of obligations that held him back from returning to Luffy and the rest of the crew at first. (Sanji felt obligated to Chef Zeff for raising him which made him reject Luffy the first time he asked him to join the crew is one of the examples of how his obligations had set him back before.)
This time however, Sanji felt obligated not to return to the crew because he felt like a) he disrespected luffy and b) was obligated to not let his family die, both his family at Baratie and his biological family and c) his obligation to the strawhats as they would be attacked if he returned to them, hence why he left them for their own safety.
This made him believe that sacrificing himself, his happiness and his freedom was the way to do it. Sanji is incredibly kind, that is what makes him human, yet at the same time, his kindness had shackled him once more. I belive that the food going bad is his own view of himself, believing that by going back to Luffy after his disrespect as a subordinate, it would make him a bad, selfish person.
And that is the flaw that Sanji sees in himself, going back to Luffy to ask for his help to get him out of his difficult situation after actively beating him up and refusing his help earlier. I mean realistically speaking, would you go back to someone you've hurt and ask for their help?
But when Sanji says how his food was a failure when in actuality talking about how he was a failure as a subordinate as well as keeping up with his obligations, Luffy merely says it was delicious. This then reassures Sanji as Luffy doesn't see him as any less because of his decision. Luffy is all about freedom, hence why he didn't see Sanji as 'going bad' because of his selfish act of returning and failing all his other obligations. This is because the biggest obligation a person has is to themself, the freedom to say and feel what you want without any reservations. Sanji is his friend, his crew, and that is enough of a reason for Luffy to fight for his freedom to put himself before his kindness.
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