#i love manga that makes good use of screentones | Explore Tumblr Posts and Blogs

nopanamaman · 6 months

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For the comic, did you use the csp halftone layer function? how did you make it look non pixelated? sorry if this is a silly question!!! love your art

Yes I do (and thank you)!

But what exactly do you mean by pixelated? Halftones will always be displayed as more grainy if you zoom out of the canvas in the program, which is something you need to account for.

They can also just look weird if your frequency isn't set high enough. I prefer to keep the frequency at around 70 because it maintains that screentoney texture without making things look too crusty.

The level of grain will also depend on your export settings, so try to tinker with what works best (I export most of my pages with 100% quality and 50% scale in a jpeg format, with some exceptions).

Keep in mind that digital exports will always have more defined grain than things like actual manga scans. Screentones bleed together and blur a bit during printing, so they have a smoother look. You can try rasterising and then blurring the screentone layer just a little bit to achieve that, if that's what you're going for.

Also the little panel previews I post here are usually cropped from a very compressed version of the page, so they have that little blur to them that smoothens things out.

I'm not sure how well the difference will show on Tumblr, but essentially 100% quality and size will be very crisp, but will usually display kinda poorly on smaller screens, e.g. phones. It looks good only when zoomed in or in print.

The lower scale option won't look too different in terms of quality but will display much better on most screen sizes. It will change the tone slightly, though, like in this case it looks a bit darker.

Scaling the page to a lower size during export will not always come out perfectly, because it can make tones that are supposed to look smooth (on darker skin, for example) look too grainy. So just experiment and see which settings work best.

#asks #parties are for losers #blog #myart #yura

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captainhowdie · 1 year

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I love love love ur art and comics thank u for being born ^ ^ !! Ur such an inspiration to me

What did u use to learn how to make comics? (Like screen tones and stuff) They’re so confusing, and I never know what to use for which part!

hallo, well there is no real answer for that, but its a good idea I think to study your favourite manga and comics that use them and see how they're implemented, and when. There are screentones that are for just filling in where colours would be, but there are also tones for emotional scenes or moments, or to strike a mood. A key point is doing less screentones than more on a page will be better, and try putting them down meaningfully, that way since you will be more limited anyways. Hope this helps a bit (´・ω・｀)

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mariposahxh · 11 months

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Togashi's "interview" with Jump Ryu magazine & DVD 2016

i found this information and translation from the hxh fandom site - https://hunterxhunter.fandom.com/wiki/User_blog:MrGenial11/Jump_Ryu_Vol.21:_Yoshihiro_Togashi

it’s long so i’m rephrasing and only sharing the Hunter x Hunter stuff & some Togashi facts i found interesting (and y’all too probably) so :

When Togashi was in junior high school, he was fully attracted to Shōjo manga (girls manga) such as Mineo Maya's manga. (Mineo Maya is known for creating LGBT ((shōnen-ai/gay)) manga)

Togashi read manga like "Urusei Yatsura" and learned how to attract female audience.

Although Togashi’s favorite manga genre is Shōnen, he thinks he's suitable for Shōjo manga.

Togashi's first manga serialization was a romantic comedy, Ten de Shōwaru Cupid. Afterwards, he began Yu Yu Hakusho. After YYH, Togashi wanted to create manga that WOULDN'T be popular to show various aspects of his personality as mangaka to his audience. He then created Level E.

After Level E, Togashi began Hunter x Hunter. He changes his style in each arc so his audience can be surprised. Togashi loves surprising his audience.

Togashi thinks characters are sometimes more important than the story itself.

The Chimera Ant arc ended differently than Togashi first expected.

He creates simulations of the characters and how they will talk with each other and take an action in situations. This allows his audience to feel as if his characters really exist.

Togashi drew his characters acting unexpectedly in desperate situations when they encountered someone accidentally. For example, the encounter between Morel and Shaiapouf, or Killua and Meleoron.

Togashi has been attracted to the dirty side of manga rather than beautiful side ever since he was a junior high school student. (whatever that means..)

Togashi drew Yu Yu Hakusho's art style impressively and Level E realistically. In Hunter x Hunter, he avoids using screentones as much as possible.

Togashi considers the manuscripts of Hisoka and Kastro's fight as "bad quality" . He said that the internet fandom was angry and embarrassed with the chapter at that time. (so he DOES look at fanforums. that's no good)

"Togashi-sensei is very gentle. He remembers what editors said in the past" (a quote from one of his editors)

"Togashi resembles Gon/Ging Freecss in terms of personality" (another quote from his editor) (the hunterpedia page said “Gin” so idk if the translator misspelled “Gon” or forgot the last “g” in “Ging” 😺 i see both tbh)

Togashi scolded an editor only once when they slightly changed a few words in the manga without permission.

Togashi is very confident in his words being interesting. He chooses his words and sticks with them, not letting anyone change them. He is very selective and peculiar about the words he uses. (hm this makes me think of the lines “ja nakya dame nan da”/“shika inai” , “dajina”/“kichō” , “shinjū” , ect.)(dw i’m making a post explaining those lines later)

Togashi's message to mangaka beginners: "Keep in mind the audience. Make every effort to go beyond their expectations.”

#so yeah togashi is a pretty cool dude #he confidently talks about being into shojo and lgbt bl manga #as he should #didn’t wanna make this about killugon… but i am #killugon #killugon propaganda

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milekael · 26 days

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Hiya! Favorite FMA panel of all time, if you have one? :D

HEELP So I went on looking over panels and ough I really can't decide...... The thing about it is that there are several panels I like for totally different reasons AASDFG Plus I tend to focus on sequences and page composition because is what I'm trying to figure out SDFGH

If I had to say a whole page, I would probably say this one as I have redrawn it twice already!

I really like the way the sequence works, with the tower closing in to the bullet casket. Riza being portrayed with the "Monster eyes" Arakawa does until she sees Mustang again....... in a way recovering her humanity but also showing how horrified she feels......

That leads to another thing I really like about her style and what normally shapes what my favorite panels are is how good Arakawa is with subtle expression changes!

This is one of my favorite examples because Broho butchered my boy LOL in the anime they don't know how to give Scar these subtle changes that show a lot of emotion so they just leave him with his default face sobs. But here without breaking that hardened look and very specific eye shape you can see him going through the realization and the bitterness and then trying to compose himself back into his hardened self, in here you can clearly see how badly this actually got to him.

Another bit I really like is how intentional every single panel feels? Like DFGHJ This is the first example I found but she has a very clean paneling technique, she barely uses screentones as shadows and knows very well when to make bgs and when to totally ignore them. Most mangas I read sometimes overdo any of these bits (One Piece...). I think it also help on how Arakawa approaches anatomy because their heads and bodies occupy very solid portions of the pages... although thats helped by the uniform's design asdfg ANYWAY not exactly the answer because deciding this stuff makes me brain go sdfghj but I love to talk about aspects I like about the manga! Specially because Art-wise I think Arakawa is one of the best mangakas out there!

#ask #aicasey #*clicking noices*

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animehouse-moe · 6 months

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Monthly In the Garden With My Landlord, Volume 1: Surprising Charm

Based on the just the synopsis, I'd say I was curious about this series, but I don't know if I was ever fully sold by it. Because of that, I'm very glad that I ended up picking it up regardless, as there's a lot of charm and energy that this first volume brings, making it a series centering around adult romance that I think quite a few people will enjoy, and for quite a few reasons that I'd love to illuminate.

Let's start with the idea of the story. Asako Suga is a manga editor that was just dumped by her girlfriend, leaving her in an apartment full of memories and firsts that are tied to her now ex. Because of that, in a spur of the moment decision she decides to move into a house that's being rented for pennies on the dollar and seems to have nothing wrong with it. That is, until she moves in and finds out that her 19 year old Landlord, and ex-idol, is living there with her.

I think it's an idea that a lot of people could be turned off by, but here me out on it. It's actually really fun, and well executed. Asako, and Miyako (the ex-idol-now-landlord) have just the right balance of comical and shallow traits as they do deep and impactful ones.

Sure, Asako might be a sucker for a pretty face, and that might have played into sticking around. But, she's more than that. She doesn't immediately fall in love with Miyako because she's pretty, but rather she struggles to maintain an appropriate amount of distance from this young adult, largely because Miyako struggles to be an adult.

And really, that idea itself opens up the story so much.

Asako and Miyako struggle to form deep relationships with people. Asako falls under the stereotype of being suckered in by looks, and Miyako is in the position where looks is all that people care about. Neither are able to directly connect with someone and form a deep and emotional bond, not even in the romantic sense necessarily.

I mean, the manga itself addresses that as Miyako takes to calling Asako onee-san a whole bunch, which perfectly highlights their beginning relationship. Miyako relies heavily on Asako, while Asako is babying Miyako.

The idea of romantic feelings is present, don't get me wrong, but it's absolutely an undertone to the pair forming a deeper relationship that extends past superficial tendencies. Because of that, I really hope that in future volumes they struggle with the expression of those feelings and they struggle with how it changes the shape and form of their relationship.

Anyways, let me share my love for the art. It's got a very light feeling, but that doesn't diminish the feeling of it or the detail in any fashion. It's still very present and strong, but it's not not got a heavy lineweight or strong shading or lighting and whatnot. I guess you might call it "flat", but I don't really think it's a bad thing.

I think the only thing I could really complain about is the environment art, since there isn't too much of it, but that's par for the course with a lot of manga these days. What's good though is that the mangaka fills that vacancy very comfortably. Subtle screentones that fill gaps, intelligent paneling and focus, and mindful layouts that work to really fill panels and use negative space. It's not anything incredible, but it does plenty to be aware of the gaps in backgrounds.

I think most important though is their willingness to break molds. They really don't restrict their characters to the confines of panels, routinely breaking out from those lines or existing entirely separate from them, or even having them partially cut off from them.

Speaking of characters, these designs are really damn good. The level of detail and uniqueness they carry is really great, and something that I think can be very rare to see.

Just look at the smaller details, Miyako's eyes are a different shape to Asako's (which are then also different to Hatomori's, who is a supporting character). Then look at the noses and mouths as well. Asako generally has a more squared off mouth, while Miyako's is rounder. Similarly, Asako has a more prominent nose while Miyako has overall softer and rounder features, but has larger/more prominent eyes.

It's really great design language that is very rare to see in a lot of series these days.

Even better is the expressiveness of these designs though. Character acting has a prominent role in a series like this, and Yodokawa's designs work wonders in regards to that. They work great both in terms of subtle and extreme moments, which creates a really nice feel to both ends of the first volume.

Also, the design sense and posing? Absolutely sublime. Yodokawa really has considered everything about these characters. Asako tends to wear more plain and "typical" outfits, while Miyako brings more energy and style, and all of Miyako's outfits are just so pretty.

Really, there's not much of an end to how much I enjoy the various pieces of this first volume. There's so much that I'm not doubt leaving out a considerable bit of charm and quality from this post, so I really recommend people give the manga a try. It's promising to bring a much more friendly and positive adult romance story, but not without depth or emotion. The art is endlessly engaging and fun, very stylish and well utilized, and the characters are such a treat. Just read it if you can.

#monthly in the garden with my landlord #Maitsuki Niwa-tsuki Ooya-tsuki #毎月庭つき大家つき #yodokawa #yuri manga #yuri #girls love #gl series #gl manga #shoujo ai #manga review #manga recommendation #manga reccs

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monakisu · 5 months

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Your art style is so satisfying! What do you take inspiration from?

ಇ( ˵ᐛ ˵)ಇ💜‼️ yippee thank you for this super fun ask!! hehe i love rambling about things i love and my art style is nothing but a frankenstein’s monster amalgamation of traits i shoplifted from things i love 😸😸😸

1. PANTY AND STOCKING!!! probably theeee biggest influence for my art style!! i religiously copied the complete disregard for realism, the white-pupil eyes, and sharp sharp everything! started in sixth grade and now we here 🩷💿🫧┗(^o^　)┓三

(panty is my favorite of the anarchy sisters heehee weak for blonde girls)

💕🧸🩷.

2. MANGA PANELS!!! i love that black n white + screentone dots look! it’s also an easy cop-out when i don’t wanna color (always) LOLLL also helps that i’ve been gazing adoringly at nothing but manga screenshots of light yagami for days now… he’s got that enchanting southern belle/femme fatale/pampered princess allure… (sorry this has nothing to do with ur question) (๑ↀᆺↀ๑)✧🧨🍎🍒

🧨♥️💥.

3. RETRO STUFF!!! like comics and 2000s cartoons :D for cartoons especially: monster high, powerpuff girls, winx club, totally spies… all thick lines, sharp angles, and POPPING COLORS!! i think this is also where i get my excessive love for shapes from (although i can’t draw a straight line to save my life) (ɷ ꒪ཀ꒪)ɷ🧡🎃✨

🎃🧡🍊.

4. PERSONA 5 UI!!! ik i’ve used this gif before in another ask but JUST LOOK AT IT!! GLORIOUSLY EYE-SEARING NEON GREEN!!! 💚 i love love love p5’s art style, particularly vanilla p5 (royal flaunts more shiny gold accents which also scratch that itch in my brain 😸) because lovely mismatched, cut-out typography! black n white characters contrasting strikingly against retina-piercing monochrome palettes!! all flair AND function!!! this game has it all!!!! (๑˃̶͈̀∇˂̶͈́)و⁾⁾˚*💚🍭💕

💚🎀🍡.

5. VEWN!!! their animations instill within me the special kind of depression only a preteen girl can feel… their style is wonderfully imperfect! sketchy lines and skewed perspectives—makes me happy to draw whatever i want without worrying about realism 😸 my favorite of theirs is “twins in paradise” and “floatland”! they evoke the same uncanniness as liminal spaces methinks 🩵🎐🪽

🫧🩵🎐.

yea… that’s it for now! i’d gush for days but there’s a stinkin 10-image limit on posts -_- but whatever u can always check out my constantly growing collection of treasures that tickle my brain on pinterest (i’ve linked it in my pinned)! gives u a pretty good idea of where i draw inspo from :3c 🩷❤️🧡💛💚🩵💙💜

#this took WAY TOO LONG TO PUT TOGETHER HAHAHA #especially since tumblr kept deleting my progress *shakes fist* beloved buggy site!! damn you!!!#mailbox 💌#💡princess posting⋆˚✿˖°

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thedustyleaves · 8 months

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As a few people have mentioned your art has a lot of dynamic style and expression. But I also think there's something very- comic, about it.

Like, it's difficult to describe, but I kinda look at your work and go "Now this person knows what a good layout is", "They know their way around a comic page". You definitely have all the skills for it.

It's a very specific vibe that I can't quite name off the top of my head, but your style feels very inspired by the kind of comics I read when I was younger, even though it also feels completely new.

Tha's so cool, aaah man, thank you so much that's so awesome to hear! I grew up reading and watching a bunch of shounen manga and anime's, and I especially loved (and still love) One Piece and FullMetal Alchemist. I remember when I was like 13, as soon as I got my pay-check for delivering newspapers, I went to my local bookstore and bought one new One Piece volume from Carlsen Manga. Then I'd buy a coke and something from the baker and sit at home and just read it through, over and over again, until I could buy the next volume the following month haha.

Both One Piece and FMA were (and still are) huge sources of inspiration once I finally decided to give Bellum Pulchrum a go, in particular how Oda very sparingly uses screentones to separate foregrounds from backgrounds etc. Every time I get stuck, I'll read a few chapters to get into that very specific nostalgic feeling they convey, and start thumbnailing again.

Also, finally starting my comic certainly improved my illustrative work as well, it made me more confident and faster with my line-work, and I dared to actually make illustrations with more silly faces and extreme poses, rather than keeping everything "pretty" - which was a constraint I had put on myself in the past.

#asks #thank you so much gosh

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oddygaul · 3 months

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Scott Pilgrim Takes Off, and also just Scott Pilgrim

-footage from Rebuild of Scott Pilgrim

I watched Scott Pilgrim Takes Off, then realized it had been nearly 15 years since I actually read the comics, so then I re-read all of those. I wish I had just done it in the right order to begin with, because doing it this way really scrambled my thoughts about both works. In my defense, how was I to know Takes Off is actually a sequel? What am I supposed to do, read things?

I was pleased to find that the original Scott Pilgrim honestly holds up pretty well. Takes Off is clearly such a reflective work that I was expecting to find the original story a lot more problematic than I had in high school, but… for the most part, it really knows what it’s doing. Yeah, a lot of the characters are shitbirds, but they’re meant to be shitbirds. The entire point of the book is showing us flawed people who intermittently make shitty decisions, and giving them a chance to grow, reflect, and treat the people around them better.

So generally, I still really liked Scott Pilgrim. All the goofy-ass character art and the surreal, unexplained quasi-fantasy Canada bits that made it tick back then still work. This time around, I really appreciated the writing and dialogue for not only its bevy of solid jokes, but for how fucking weird it is. In the past decade or so, I think a lot of ‘quirky’ humor has homogenized somewhat into a particular tone. Call it Whedonization or globalization or internet brain or whatever you want, but it can sometimes feel like anything aiming to be comedic hits a lot of the same beats.

The Scott Pilgrim comics, however, are a weird time capsule and their own vibe entirely. These fuckers just talk like aliens sometimes. They say random stuff, but it’s not *holds up spork* random, it’s “shit sorry I was kind of half listening but I think the thing I’m about to say is relevant” random. It’s less big swings to try and land a punchline, and more of two people letting loose a stream of consciousness at each other, lending a sense of constant confusion to the proceedings. It’s absolute nonsense sometimes, and I was way into it.

This ties into a slight shift in my read on Scott as a character, too. I always just saw him as a huge asshole - and that led to my biggest issue with the movie, which was that Cera plays him way too meek and doesn’t suck nearly enough. Reading the comics again, though, while Scott absolutely does suck, he’s just so fucking head empty that I warmed up to him a bit more. He’s still an asshole that doesn’t take responsibility for how his actions affect others, absolutely, but also god damn he’s so dumb that it softens the blow sometimes.

There were some little details about characters I’d forgotten that I really love - like the fact that Scott is actually a really good cook, but does it purely through intuition without knowing what anything’s called.

Art-wise, I liked it a lot more than I remembered, too; it definitely starts out a bit rough, but there’s a lot of charm to the characters and their weird gremlin mouths. I also laughed at some of the manga inspiration I didn’t pick up on before; everyone’s got big anime eyes, sure, but the grey screentone Clip Studio pattern fills? The hiring of assistants to do polished background work as the author gets into the later volumes? Ahh, classic.

Takes Off was a lot of fun, too. I gather that a lot of the internet fandom is upset it wasn’t a straight retelling of the original story with killer animation, but man, you gotta let creators create what speaks to them. Bryan Lee O’Malley started Scott Pilgrim twenty years ago. He’s been both married and divorced since then. Surely he’s gone through as much growth and change as we all would in such a timespan - how could you expect someone to just re-tread the exact same ground on such a personal story?

I find it interesting how prevalent this trend has become in the past decade or so - a creator or creative team returning to an old work - seemingly out of necessity, as the IP has become such a juggernaut that it’ll happen with or without them - and refusing to just tell the story again by the numbers. Anno’s Rebuild of Evangelion is the closest spiritually to this, but even recent ‘remakes’/reboots like Final Fantasy VII and God of War 2018 have followed the same path - creators ruminating on the strengths and weaknesses of older work from a more distant lens to create something new. They all seem to have arrived at this methodology independently, too (O’Malley said he only watched the Rebuilds once Takes Off was written and well underway); it’s not about chasing the trend of an altered remake, it seems to just be a natural desire to reckon with the past this way.

Because of this, one of the reasons I really wish I watched the show after re-reading the comics is to have a better sense of the evolution, and the change in tone and message. Due to watching Takes Off while having only a hazy recollection of the original, I made a lot of assumptions about how the original work must have portrayed things, to explain what Takes Off’s themes were a rejection of: that by giving Ramona more agency, she’s less of a damsel in distress/prize to be won, and isn’t defined by her body count… when in fact, neither of those are really the case to begin with. Ramona has plenty of agency in Scott Pilgrim, she fights as much as Scott does, and really is only defined by her body count as narrative framework, not judged in-universe by the other characters* **.

*I think some of these misconceptions may have come from having rewatched the movie more recently than I read the comics, as the movie (if I remember correctly, which this entire blog has established I likely don’t) does tend to treat Ramona as more of an passive object. Her subservience to Gideon in the real world (rather than in her subspace mind prison) comes to mind.

**Also, you could argue that the framework of the story itself being ‘guy fight’s girl’s evil exes in order to earn the right to date her’ is inherently placing importance on Ramona’s body count and someone’s romantic eligibility/desirability being defined by that but like… man that just is clearly not the vibe imo

If anything, I think the real lack that the show was trying to make up for wasn’t Ramona’s lack of agency, exactly, but a lack of screentime. Takes Off simply spends more time inside Ramona’s head, letting us see things from her perspective, and understanding the reasons for why she is the way she is and why she does the things she does. In some volumes of the book, she’s aloof almost to the point of feeling like a trope; it’s clear (especially later on) that there’s a reason for the way she acts, but the story just doesn’t necessarily communicate it very well. In the show, with Scott sidelined, we get to spend a lot of time with Ramona, understanding her thoughts and feelings, which is certainly a welcome change.

Anyway, intentions of the changes aside, I wouldn’t trade Takes Off for a straight remake in a thousand years; the sense of utter surprise I felt while watching the story take a hard left turn was exhilarating***. Plus, if the reason you love a series is the characters you’ve developed a bond with, what could be better than canonized fan fiction written by the original creator, showing your favorite characters interacting in new and novel ways? How could one not be excited to see Gideon and Lucas bro out and watch anime together? How could one not be thrilled to see Wallace Wells enact further chaos upon the whole province? More than righting storytelling wrongs, Takes Off is making space to tell more stories and round out everyone’s favorite supporting characters in a franchise that, due to the inherent density of its plot and setup, simply hasn’t had the real estate to develop all of them and let them breathe.

***Having just played through NieR recently, I almost felt like the show had scanned me, detected I had gotten Scott Pilgrim Ending A before, and was throwing some NG+ bonus content at me lmao

As far as the production goes, I was impressed overall, but thought it did suffer from some awkward timing and pacing issues. It’s stiff competition when your inevitable point of comparison is an Edgar Wright movie - even other live-action movies can seem stiff and slow compared to his frenetic pacing and constant cuts - but it still felt remarkably low energy at times, especially in the back half. Now, this is a problem you see a lot in anime dubs; English and Japanese are two very different languages, with different cadences and construction. Since a cast is typically required to dub over already existing animation, the translated dialogue often ends up being elongated and unnatural when it should be a quick back and forth, or hurried where it should have a little more breathing room. Given, though, that Takes Off was not only recorded in English before Japanese, but actually recorded before animation then animated to the dialogue (exceedingly uncommon), I was surprised the show still had this issue.

Regardless, the boarding in the first 4 episodes or so manages to be bombastic enough that this isn’t a problem; there’s a lot of wild camera angles and perspective shifts that keep things dynamic even when the dialogue itself isn’t moving too quickly. The animation highlight for me personally was the fight in the video store between Ramona and Roxy; great idea, incredible execution.

While Science Saru is the main production studio, I was intrigued to spy a bunch of other studios listed in the credits - WIT, Shaft, Ufotable, Trigger - but upon some further research it looks like they were just doing inbetween work.

Also the music includes slapped - I was jamming hard to Kidnapped by Neptune and Konya wa Hurricane, and then that United States of Whatever drop? unreal.

#will's media thoughts / virtual brain repository #shows #comics #scott pilgrim takes off #scott pilgrim

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ekamuy · 2 years

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I think being a good writer and a good storyteller are two different things and Noda is amazing at the second one. Just look at how he subtly uses all the resources and possibilities that the manga medium allow him to use, the way he understand and exploit the fact that in a manga, the drawing takes the narrator's place and instead of explain to us what he wants to show, he let the reader interpret the story on his own by giving him CLEAR hints at what he is trying to convey, Golden Kamuy is a manga that really makes you think "this detail i just noticed is not luck, it is really there for something"

For example this page, imagine that the editor didn't write the sentence of "the past and the future, overlapping in front of his eyes", this IS SOMETHING DELIVERED THROUGH THE DRAWING, the pages where a flashback or something about the past is being shown, we can see a black frame all over, different from the usual white frame. But when Ogata wakes up (present time) we can see between the white frame a bit of black, Noda doesn't need words to tell us this, he is using the art.

And this is something present all over the manga through little details and hints like the shape of the text boxes or the screentones, and it is both the reason why i enjoyed A LOT the experience of read this manga, and the reason why i also love the experience of reread it again and again.

#Noda u madman #And add to this that he is also a good writer of course #I really love Noda's storytelling #No it doesn't have to be hard to understand #The sole fact that the detail is there for us is amazing

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cestcirque · 3 years

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The “Secret” Clues: Opening Acts

There are entirely too many clues to point out all of them, but here are the earliest signs of the correct pairs being drawn to each other (and away from their original partner) 👀

THIS IS TECHNICALLY AN EXTRA SO FEEL FREE TO IGNORE THIS TAG IF YOU’RE NOT ABOUT IT! 😝 @crescenttooru @marissaraeblr @roselleviennesstuff @ash-levi @ntimacy @tmtau @ysatrap @nerdynstoned @fucktheworlddude @tabipleats @afire24 @internethome @kac-chowsballs @putmeinyourdeathnote @xfangirl-trashx @kodzuklutz @madsumu @kotarousproperty @blkladyelle @itoshibaby @ego-risu-ad-sidera @renhold-nightspear @lilith412426 @kiyokisses @wrongbitch24 @moonlitevibes @honeypirate @rain-kissed-clouds @luckyminhibou @rinnieroulette @scentedflower @kunimisgf (and also dedicated to @ixwrites bc I see you rereading and I love you)

[ return to masterlist ]

The two main themes of Aperture were “love isn’t found, it’s built” and “what matters is the relationship you want to make work.” The Cardinal Set’s rebuttal to this is “maybe you were meant to meet but not to be” and “sometimes you simply can’t hit all the right points w someone”

The three original pairs met with the entirely wrong mindset and circumstances. Trompe-l’œil Y/N trying to “put Semi in his place,” Screentone Y/N having to “get a read on” Akaashi, and Extrema Y/N seeing Atsumu as a “more direct route” to her own goals

The context of their meetings and the Y/N’s abilities were designed to bring out the setters’ worst traits and/or exploit their good ones: Semi’s pride, Akaashi’s attachment, Atsumu’s ambition

All three Y/Ns also already have a “better choice” of a partner, who can hit two out of the three points in the cardinal set w them: Terushima is intimate and companionate, Udai is (or at least was) romantic and intimate, and Sakusa is companionate and romantic—any viable partner would have to surpass them

Right away the interest is fully one-sided. None of the Y/Ns see their original partners as actual partners until their friends literally tell them to, and even then it’s still shaky. Which brings us to one of the biggest clues of the series:

“Striking twice” relates to a different clue later but the key here is that love is built but it can’t be forced. And this includes me as the author forcing them together the way they were.

Now onto the specifics:

Trompe-l’œil Y/N and Semi: Semi right away is fighting a losing battle, and his was the most heart-wrenching for me. His insincerity and lack of trust in Aperture stems from seeing himself as second-best, so thinking like that, (a) the “someone’s heart” that he’s going to end up breaking is his own, and (b) Y/N forcing him to take a hard look at himself will only make him edit out even more of his heart and soul 💔 Seeing all the early analyses of this pair lowkey broke my heart, she’s actually v toxic for him

…And I’m sorry but there’s no way the love of Semi’s life would hate his love songs, that should’ve been a giveaway 😶

Screentone Y/N and Akaashi: On Akaashi’s side, the second-year slump is actually meant to refer to him. Udai’s struggles getting Meteor Attack off the ground parallel Akaashi getting easily attached, trying to course-correct his previous mistakes, and having to “force lightning to strike twice,” right up until the manga is soft-canceled. Y/N then echoes the “striking twice” sentiment applied to koi no yokan, and that’s your biggest hint

…Also Screentone Y/N’s mess of a Twitter head cannot at all be helped by Akaashi’s mess of an actual head, that was another giveaway 😝

Extrema Y/N and Atsumu: Sakusa tells the MSBY crew that they can’t grow while they’re on marionette strings, and Mika calls Extrema Y/N a puppeteer… simple as that. This one is the most straightforward—a lot of the more flat-out stated hints come from Extrema

Now onto the real pairs:

Trompe-l’œil Y/N and Akaashi: Ways of Seeing. A trick of the eye, trompe-l’œil—that’s all it is. While he hates the idea of it initially, Akaashi’s ways of seeing were changed by Aperture Y/N. And besides literally calling out Ways of Seeing by John Berger, this Y/N is looking for a different way of being seen. She has lost track of herself and needs to be rediscovered through being appreciated as herself by another. This particular quote from Berger is also about the female gaze vs. male gaze, relating back to Olympia

Screentone Y/N and Atsumu: Besides her newfound love of volleyball that can only be satisfied by 💕 a professional, 💕 her ambition right from the beginning is to see a real setter in action. I even tried to tone down her obsession / desire for a “real match” just bc Atsumu is the only “real setter” out of the three. He also shows his resistance to body language tells VERY early on—I was worried this one was too obvious 🤭

Extrema Y/N and Semi: Right after Mika calls her a puppeteer, Extrema Y/N corrects her and says she just wants someone to run with. This was around the time I was encouraging a look back at Aperture, bc Aperture Y/N’s one-sentence description of Semi was “The type of headstrong I can run with.” If anyone had found the combination of “puppeteer” + “someone to run with” specifically, you would’ve been able to predict the endings only a quarter of the way through the story 😝

#cardinal set smau #trompe loeil smau #screentone smau #extrema smau #secret clues

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intomybubble · 9 months

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Its been a week or something since I started reading Shounen Note (middle school choir manga), and I'm almost finished. Its not a long series (30 Ch), but it has taken me longer than I expected to finish it. I think the topic is interesting, but the way it's told didn't particularly grab me like some other manga I've read. I will say though, that I really like the art work. The linework is really good (its an older manga so it's still drawn traditionally, and for me it gives a different vibe than some recent digitally drawn series imo), and I really how the mangaka illustrates the atmosphere around the characters

#desiree talks #desiree reads #i wasn't 100% about it being drawn traditionally #but the fantranslators added in a picture of one of the physical pages the author posted online #and the series was published around 2010 before digitally drawing manga got more common #there's some really good digital manga out there but...#sometimes the linework is very obviously digital in not a good way #and the lack of screentones make me sad #some traditional artists use a lot of hashing to mimic shadows rather than rely on screentones and stuff #but some just look bad (ex route end)#and the coloring just goes for simple grayscale #so i really appreciate manga with nice lines and screentone usage #like montage wasn't my favorite to read but the linework is so crisp i loved it

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slugtranslation-hypmic · 3 years

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Favorite manga art style? Personally I really like the fp/m and the tdd art styles :3

My opinion is a little bit biased because I spend a lot of time bitching with the cleaners, but I like all of them for different reasons.

The TDD mangaka’s (Rui Karasuduki) screentone usage makes me want to take up day drinking, but her art is consistently one of my favorites. Her art feels very “definite”, and her backgrounds are usually nicely detailed. I like the way she draws characters, too! She can go back and forth from very serious figures to cute, chibi-style artwork depending on the mood of the panel almost effortlessly.

I like the BB/MTC mangaka’s (Tetsuji Kanie) artwork at certain points but not others. You can tell when he (?) is drawing something he enjoys, especially birds. He also pulls off some pretty awesome effects from time to time. I loathe his SFX, though, because they can be utter bastards to remove. He’s not super popular because his anatomy and facial expressions are a bit wonky, so I feel bad for him and want to support him, haha.

The FP/M mangaka (Kiiko Jyo) is great too! She’s right up there with Karasuduki-sensei for me. Her artwork is always extremely detailed (which can be a pain in the ass for us) and super emotive. Unlike TDD, FP/M feels a lot more “wispy”. There’s a great sense of movement in almost everything she draws. You can tell from the way she draws and the way she writes that she puts an enormous amount of thought into her work, especially in regards to her paneling. I love that.

The DH/BAT mangaka (Kikou Aiba) has much more of a cartoony style, which really seems to fit Dotsuitarehonpo especially. Her manga feels so much different from the other ones, which isn’t particularly a good or a bad thing. I believe the mangakas write at least some of their own dialogue and raps, because her narration style feels very different to me than the other manga. It feels kind of like what you’d hear in a movie, so I try to approach it with that style too. Hmm, that’s not what you were really asking about, though... I really like her use of shadows. It works well with the greyscale.

#not a translation #asks

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suckishima · 3 years

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ー CREATOR TAG MEME:

Rules: It’s time to love yourselves! Choose your 5 favorite works you created in the past year (fics, art, edits, etc.) and link them below to reflect on the amazing things you brought into the world in 2020. Tag as many writers/artists/etc. as you want (fan or original) so we can spread the love and link each other to awesome works!

tagged by @p-irozhki thanks for tagging me Rissa!! Sorry I took so long to get to it lolll. I know it’s already like a week into 2021, but everything on the list will be from last year lol

The Kissing Journals: I was in a real writing slump at the beginning of the year and I spent a loooong time just slowly working on this and enjoying taking my time with it. I really enjoyed just writing it all at once and then posting the chapters weekly and already feeling at peace with it before I even posted it and it turned out to be one of my favorite things I worked on all year. Now if only the other tsukkiyama ideas I have would come as easily loll

The “connect” coloring/edit (chp 402): First of all, I completely sobbed when I read this page in the manga and I think it’s probably the single page that affected me the most of the entire series. I was still pretty new to coloring manga panels when I made this, and while I would do a few things differently if I did it again, I spent a longgg time working on this one to do it the best I could at the time and I’m still really happy with the way it turned out.

Tsukki’s character development gifset: While not one of the more technically challenging gifsets I made this year by far, it’s probably one of the ones I had the most fun with. Using that quote he says during the Shiratorizawa match and finding correlating scenes for each line of the quote was SO fun. I put a ton of thought into why each clip fit with each line n stuff and not to toot my own horn or w/e, I think I did a good job lol. And since we don’t hear Tsukki talk about himself much, it was really really cool to go through whats been animated so far and find instances where his actions have backed up how his development could be narrowed down to that single quote.

hq!! the last supper coloring (chp 369): lmao the name is kind of a joke, but it is the last meal we see them having almost all together, and this is when I think I started to really feel comfortable with coloring and I started to nail down a lot of the techniques I’d been trying. I also had a lot fun playing around with the steam effects and trying to just subtly make the gif aspect of it noticeable.

Hinata’s receive desktop wallpaper: The most recent coloring I’ve done, and probably the best one skill wise. I spent FOREVER editing out all the screentones from his jersey and I’m happy I did. My understanding of shading has gotten a lot better and actually taking the time to get rid of the screentones let me practice some shading even more (definitely still not perfect, but an improvement). Plus, I just love the simplicity of this one and how bright I got it without it hurting your eyes - it’s still my own wallpaper right now and I love it.

tagging (and no pressure of course if you don’t want to!): @crocowl, @kanbayashis, @suugawarakoushi and @memitims!

#it was wild to go back through my 'mine' tag and see the sheer amount of gifs i made this year lmao #and while i am super proud of all the manga panel style gif edits i just like all these other ones more??#i really am bad at favorites lolol #seriously no pressure if anyone i tagged doesnt want to do it!! i know i did it really late too #so now its even further from 2020 loll #and also sorry if youve been tagged already #this was really fun tho!!#was really cool to see how my skill has grown with coloring #tag meme #p-irozhki #x #OH not gonna tag spoilers for the whole post #BUT manga spoilers on the connect edit and the last supper edit

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onigiriico · 3 years

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Osora Interview translation (pt.2)

(printed in AnimaniA 4/2018, p.58 - 61 / interview originally given in March 2018 at the Manga-Comic-Con in Leipzig, Germany)

( pt.1 )

The Internet offers Let’s Players, but also all kinds of artists an opportunity for very direct communication with their fans. However, this can also have its downsides when it comes to potentially negative feedback. How do you deal with this issue?

—Sometimes you just stumble across negative feedback that you didn’t want to see, and that can chip away at your motivation and creativity. I try to prevent that by not really looking at reactions in the first place, and when I do happen to see negative feedback, I try to forget about it again as soon as possible. Of course, when I start a new series, I’m curious about the readers’ reactions and go looking for feedback, but if eight out of ten comments are very positive and two are negative, I still tend to get stuck thinking about those two negative comments. There even was a time when that negative feedback made me feel too depressed to draw for a couple of days. But the more often this happens, the more you learn to deal with this criticism. I can stomach it pretty well by now, and I think it’s important to not let negative feedback get to you.

Did your experience regarding interactions with readers change much from Boku to Senpai no Tekken Kousai to The Ones WIthin?

—Digital publications receive a lot more feedback than series that are only released in print - be it via email or via Twitter. Twitter is the main source of comments. With Boku to Senpai no Tekken Kousai, there was much less of a response, and the feedback that we did get was usually in the form of letters. Since readers had to buy the magazine first and then go out of their way to send a letter, that was a lot more complicated. (T/N: i.e. it takes more time to write/send a whole letter than to just send a tweet)

How do you handle responding to messages from your readers? For example, do you set specific times for yourself to reply?

—Since I get the most reader interaction on Twitter, I try to answer questions and comments there when I find the time for it. I always do that myself because I want to respond to my fans in my own words. That doesn’t feel like extra work to me, but rather like a pleasant change of pace. Aside from my personal account, there’s also the official account for The Ones Within, which is mostly for promotional use. My editor retweets my tweets there and forwards any questions that get asked there to me.

Could you describe your usual daily routine when working on The Ones Within?

—I’m a night owl, so I usually get up rather late at around 10 am. After that, I basically work in two rounds. The first lasts the entire day and ends in the evening, around dinner time. Then I take a short break, and the second round starts at around 9 pm and ends at roughly 2 am. If I’m close to a deadline, I sometimes just continue drawing until I pass out. (lol) I never take much time to eat at that point, either.

What advantages are there to drawing digitally in comparison to drawing traditionally?

—Oh, there’s a lot - especially how easy it is to make corrections and adjustments. Your work space is neater and other people can’t stare as easily at what you’re drawing. There’s no need to erase sketches or apply screentones by hand (T/N: see here how screentones are applied traditionally, it’s definitely faster digitally lol), so there’s not as many work steps either and you can finish your work even on your own [without assistants]. And since it’s all data anyway, it’s easy to save as well.

Do you have any advice for artists who are just starting to work digitally?

—Practice makes perfect! I used to have a private page online where I more or less kept a drawing diary, all about original characters. I still kind of do the same thing on Twitter nowadays. It’s important to keep at it and actually draw on a daily basis, that way you’ll get used to it. There’s also live streams from artists on Pixiv and Twitter - it’s helpful to watch those and adapt parts of their progress for your own work.

You’ve shown us a picture of one of your notebooks that you use to jot down your ideas - where do you usually come up with these? (*picture under the cut at the bottom of the post)

—There’s two main places where I tend to draw spontaneously. For one, on the train - usually after meetings with my editor. I can best sort out my thoughts right after those meetings and save some first ideas. Secondly, in bed, right before going to sleep. Ideas flow really easily when you’re sleepy and letting your thoughts wander. Also, I’d feel like I’m wasting my time if I did nothing and just waited to fall asleep, so instead I imagine as many scenarios as possible and jot down the best ones. When I come up with something I especially like, I might also get up again and draw it digitally right away. (lol) I don’t take my notebooks with me everywhere I go, though.

Both Boku to Senpai no Tekken Kousai and The Ones Within combine dark, mysterious elements with more comedic ones. How do you find a balance between these two aspects, and what do you like so much about combining these opposites?

—I like both comedy and serious plots, so I wanted to draw both - in the end, I combined the two without really thinking much about it. I usually just let this come to me naturally while I’m drawing too, although I do keep the timing in mind. For example, it wouldn’t be appropriate to make a joke in the middle of a sad or serious scene, and vice versa. So, I take care not to destroy the atmosphere that I’m trying to convey [in each given scene].

Personally, which character from The Ones Within is your favorite?

—I can’t really “rank” my characters because I love them all! Going by who’s the easiest to draw, it would be Anya. He’s a pretty straight-forward type, so he’s easy to understand. He’s also the only one who looks angry a lot of the time and has eye bags… and his accessories, like the helmet, his iron bar or the chewing gum - they make him stand out and thus easy to draw.

Do you already have an ending planned for The Ones Within or do you still have a few options to choose from?

—The ending is already planned out!

Do you maybe already have a new project in the works that you would like to tell us about?

—For now, I’m just really happy that The Ones Within is getting an anime adaptation and I can finally talk about it, now that it’s getting officially announced this May! I can��t wait to see my characters animated on the screen!

A final word to your fans?

—Thank you so much for reading my manga! There are so many Japanese manga series out there, and I’m really happy that you chose to read mine out of all of them. The Ones Within is getting an anime adaptation, and of course the manga is still ongoing as well, so I hope you will stick around and enjoy it until the end. Thank you!

Osora-sensei, thank you very much for the interview!

I tried to decipher these but the picture was too small to read much sadly agdjsdvhs

The bigger page seems to be some Kudou bros goodness? They seem to be talking about Shinya having Kenya's piercings (and maybe about Anya getting piercings as well, considering his very resolute "I don't want to." lol) and they're also mentioning ramen at some point from what I can decipher

And the bottom right looks like some kind of character relationship chart / worldbuilding notes,,,

#osora #the ones within #naka no hito genome #nakageno #boku to senpai no tekken kousai #translation #mangaka #mangaka interview #I feel dread knowing that Osora has the ending planned and might drop it on us some day after this hiatus lmao

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chibivesicle · 4 years

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Golden Kamuy chapters 251 and 252 - rumble in the brewhouse

These chapters show the beginning of the mess that is happening inside of and outside of the Sapporo brewery. Or as I’d like to colloquially call it Abashiri 2.0. Chapter 251 is a color cover page featuring Tsukishima and Koito. Let’s just take a second to look at this page. I personally love this cover page and as the manga has continued many of you know that I’ve warmed up to Koito since Karafuto.

Both men a surrounded by items related to them. For Tsukishima there is the bag that Edogai made, his bathhouse supplies, one of Koito’s trunks, various firearms, a grenade like the one he threw at Abashiri, a bayonet and lots of shells and military packs and bags. On Koito’s side there are his menko, umbrella from the circus, his childhood motorbike, saber, an anpan and his photos.

What I find interesting is that some of Koito’s items are from his past and are related to Tsukishima as one of his kidnappers while other items are present Koito. In contrast, all of Tsukishima’s items are from the current timeline and events in the manga, but not from his past, e.g. not hair from his fiancee.

One of the question posed on the cover is asking if ‘love’ is found on the battlefield which really gets back to Tsurumi’s epiphany about the power of love and how he uses that to create his super loyal men on the battlefield. Looking at both of them I read it as Koito looking forward to perhaps finding his own ‘love’ and purpose as he stands in a stiff and serious pose. Meanwhile, Tsukishima looks down, his eyes shaded and his hands in his coat pocket. It seems that Tsukishima may be reflecting on all of his past deeds on and off of the battlefield. This makes sense to me since Tsukishima has much more experience than Koito.

We also know that since both me disobeyed Tsurumi’s orders in regard to Tanigaki and Inkarmat, they have tied each other together in their independence from being total Tsurumi loyalists. Well enough about the cover, let’s get into the action.

The chapter starts with Sugimoto leading Asirpa and Shiraishi towards Ushiyama, Kadokura and Kirawus. Sugimoto boldly claims that they need to hurry since Kadokura and Kirawus are unreliable and useless. Burn.

Noda quickly updates us on everyone’s locations while Usami meets his match in Ushiyama.

It is clear that Hijikata’s group is now at a disadvantage as the other groups are running opposite of Jack. Sugimoto comments on Usami trying to fire a rifle at Ushiyama, and the others rush even more quickly to the location.

Usami, quickly realizes that Ushiyama is no man to be trifled with and he drops the rifle in favor of judo. The situation only becomes worse as Ushiyama has a moment of thought in the heat of conflict to ask Kadokura to confirm Usami’s identity. Good job Ushiyama!

Kadokura of course confirms he’s working for Tsurumi and at that point Tsukishima, Kikuta, Koito and Nikaido arrive. Again, Kikuta is the one in charge as he orders them to step away from Usami. Tsukishima has his rifle already drawn and Kikuta has his pair of revolvers ready. This really shows that the 27th is ready for action.

The next page has Koito taking charge, telling the others to stand down so that he can attach with his saber and prevent the chances of friendly fire hitting Usami.

I don’t think Koito is being an idiot rushing in without thinking in this instance. Instead, he’s thinking of the best course of action with the ‘safest’ option to try to help Usami without harming him. The fact that he makes his order and then gives a rational reason tells me that Koito is becoming more mature in how he thinks about things. Unfortunately, he doesn’t know that Ushiyama is no some normal guy. It is Nikaido who advises against close combat and Koito doesn’t even manage to get that close as Tsukishima tells him to dodge as he can see that Usami is about to get tossed into the air.

The next page is a repeat of Ushiyama’s ability to toss people long distances. Recall that back when Hijikata first recruited him to join his faction, he tossed a naked prostitute through the air in a similar fashion. Tsukishima’s warning is enough for Koito to show his athletic abilities and we are even given a slow motion panel of Koito looking at Usami’s face.

I think this shows that Koito and Tsukishima have reached a better level of communication between the two characters. I think if this were back before Karafuto, the timing would have been off and instead of avoiding the UFO (Usami Flying Object) Koito instead would have been taken out by Usami. But he doesn’t get hit by Usami, he’s able to dodge and they are able to quickly recover to pursue Ushiyama, who smartly jumps into the brewery to escape knowing he’s outnumbered since they have rifles and revolvers. This was a situation that could have backfired, but it worked out well as there is good cohesion between Tsukishima and Koito.

With Ushiyama’s escape, Kikuta takes charge again. The fact that Tsukishima has been working with him on and off for a long time likely means that he respects Kikuta as a strategist. We’ve seen indications that Kikuta thinks quickly on his feet and has good basic urban combat knowledge. The failing of Tsukishima, Koito and Kikuta is an inability to reign in Usami.

They saved him fro Ushiyama and ran into the brewery while he gets up on his own and with his bayonet targets his favorite tanuki, Kadokura. It is clear that Usami’s obsession with Kadokura goes completely against his current orders from Tsurumi to catch Jack. For a man who was dedicated to catching him to show his worth to Tsurumi to receive his love, it is clear his love of Kadokura overrides that. Could it be that Kadokura is Usami’s Tsurumisexuality kryptonite?

The adrenaline filled chapter continues with our dapper convict approaching the wee babe Kantarou. Hijikata’s aura is strong enough (indicated by that intense screentone action!) that Jack turns and Kantarou stands up to slow down his escape.

Kantarou is slashed by him, but by slowing him, Hijikata is able to pull up his Winchester and aim at the killer. As a result, Hijikata proves to be an accurate shot hitting him in the left shoulder and takes a few more shots before he escapes around a corner. Hijikata orders Nagakura to launch their firework. This is similar to Abashiri where an artificial light source leads to downstream effects for various players. First off, the result is confusion. Sugimoto is confused and Shiraishi wonders what is happening. Boutarou asks for clarification for the direction of the killer and Toni makes it clear that the gunfire was Hijikata’s, he suggests that they split up. The firework also shows us the location of Vasily.

He’s on a roof with his mosin-nagant ready and looking through his binoculars in search of Ogata. The next page is a dramatic zoom in on a fire watchtower. Thanks to @goldenkamuyhunting updating me on the information from @osomanga that this is a fire watchtower. I had been looking for what it was and the best guess I had come up with was an early grain elevator due to the double roof and the location near the brewery. I thought this was a decent guess since most of the agricultural development was driven by Americans in Hokkaido and the wooden grain elevator was once a hallmark of a huge portion of North America. Noda uses classic manga techniques to zoom in on Ogata’s location from Vasily’s point of view to show that he’s spotted his target.

This creates dramatic tension indicating that Ogata is potentially in trouble as he’s been spotted by Vasily and he’s instead paying attention to the action on the ground. Gasp! Ogata is in danger! Of course, I wasn’t worried since, well Ogata is a main character and Vasily isn’t exactly fighting fair for their ‘rematch’ that Ogata isn’t really even aware of.

Hijikata checks in with Kantarou, as he quickly bandages his forehead to stop the blood from running onto his face. Hijikata is proud of him and gives him words of encouragement that he isn’t the type of man to turn his back in battle. Of course he tells him to follow him and Kantarou is beaming in pride and excitement!

We don’t see enough of Kantarou, but I’m honestly proud of him here. He’s a capable gangster, and is becoming more than just a gangster. I mean his eyes are almost sparkling and the screentone behind him is sparkling. I hope Kantarou doesn’t meet an unfortunate end, he’s a solid guy.

Sugimoto, Asirpa and Shiraishi catch up to Kirawus finally who must have hung back and wasn’t noticed by the 7th. Sugimoto of course charges into the building with Asirpa following close behind as indicated on the next page. Sadly, Kirawus isn’t fast enough to get Sugimoto and Asirpa to pause and he only is able to finally tell Shiraishi that there are five soldiers in there.

Of course Shiraishi is concerned and by time he enters, he’s become separated form Sugimoto and Asirpa as he tries to find them and warns them the 7th is inside. Only after some time does Asirpa realize Shiraishi is missing. Yep, excellent leadership skills there Sugimoto. You can’t even keep your party together!

Sugimoto has his rifle ready as he thinks perhaps he’s found Shiraishi. But of course not! It is Nikaido and he’s ready to kill Sugimoto as Sugimoto aims his rifle with his eyes white with murder intent.

All in all this was an epic failure of so many levels. Shiraishi the brains of their team is lost, Asirpa blindly followed Sugimoto and now he’s up against a man who is beyond obsessed with killing him.

Tumblr started to be weird so, I’ll have to split this meta into two parts. Sometimes it can’t deal with images . . .

#golden kamuy #golden kamuy meta #sugimoto saichi #ASIRPA #Shiraishi Yoshitake #hijikata toshizo #nagakura shinpachi #kantarou #kirawus #kadokura #Usami Tokishige #ushiyama tatsuma #nikaido #warrant officer kikuta #tsukishima hajime #koito otonoshin #ogata hyakunosuke #vasily #boutarou the pirate

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