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a-man-for-hire-and-his-archives · 4 years

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AN INTERVIEW WITH LUKE ARNOLD

Many people know actor Luke Arnold from the Starz TV show Black Sails where he plays the character, John Silver. But, to add to his extensive acting credits is his debut novel, The Last Smile in Sunder City. The first novel of the Fetch Phillips Archives series. If you haven’t had a chance to check out Sunder City, you should fix that ASAP. (Our review can be found here.) Sunder City is a little bit of fantasy, a little bit Sam Spade, and a whole lot of good writing. GdM got the opportunity to sit down with Luke and talk to him a bit about his writing, and what is happening in the future for Fetch Phillips.

GDM: Hi Luke. Thank you for agreeing to chat with me a bit about your writing, life, and The Last Smile in Sunder City.

LA: My absolute pleasure. Thanks for having me.

GDM: For the uninitiated, could you tell me a little about yourself and how you got into writing Sunder City? Have you always been a writer?

LA: I’ve been working as an actor for most of my adult life. When I started out, all my creative paths were intertwined. I’d write things, act in them, direct them, and collaborate with anyone on anything. Then I was lucky enough to have some success in the acting world, most notably on a show called Black Sails, and gave that all of my focus for a few years. After that wrapped up, it felt like it was time to dig back into my own writing, so I put away some time and punched out the first draft.

GDM: I know with acting, you must pull character creation and visualization from a creative space. How does that differ from character creation when writing novels?

LA: In some ways, they couldn’t be more opposite. When you act on film, you really have to trust everyone around you and hope that you’re in safe hands. You work off someone else’s material on a set that someone else built, in a costume that someone else made, while you listen to direction and hand your performance over to an editor at the end of it. It’s about doing your homework, preparing properly, and then committing to this brief window of time when you try to be in the moment and deliver a performance worth capturing.

GDM: With a novel, you are the entire crew, and the window lasts as long as you need it to. For the most part, there is no collaboration, no outside input, nobody rocking up with a ready-made set or a beautiful coat to put on one of your characters. For better or worse, it’s all you.

LA: To be honest, being able to bounce back and forth between the two makes me enjoy each of them even more.

GDM: The Last Smile in Sunder City was a remarkable story. I loved how the story is told through a series of interactions, both now and in the past. It was a compelling narrative device in describing how a character can change once crossing a pivotal moment in their lives. In Fetch’s case, it was the before and after the Coda. Did you plan for the story to be told in this fashion, or did the story change organically as you wrote it?

LA: When I started writing this story, it was only the present-day part of the story: a man-for-hire searching for a Vampire in a broken fantasy world. I thought maybe I would do a bunch of these short cases, stick them together, and then do an origin story one day.

I shared the story with some friends in the publishing world and while they really liked it, they informed me that collections of short stories are nearly impossible to sell, and suggested that a novel would be a better path. Thankfully, I took their advice.

I think the scars of that process can still be seen on this story, but I kind of like that. It’s the same thing that happened to Raymond Chandler (my biggest influence when it comes to this book). Chandler wrote short stories for a magazine called Black Mask. Most of his novels were an amalgamation of those shorter stories, tied together and padded out.

My second book, Dead Man in a Ditch, is more tightly constructed, but for the first story about a hopeless, wandering gumshoe who only begins to find his way, I think the creative journey added to the tone.

GDM: How did you create the after Coda world? What was the inspiration?

LA: A lot of the pre-Coda world (the magical time) was planned out before I started. I tracked the beginning of magic and thought about how it would seep into the world and create versions of all the magical creatures we’re familiar with. But in the post-Coda, a lot of it comes to life as I take Fetch around the city and see who he stumbles across. Rather than being inspired by any particular time or place in history, it’s more about a feeling. A bit of guilt. A touch of depression. A regular spoonful of self-loathing. Sometimes it’s about growing up. Sometimes it’s about living in the aftermath of mistakes. It all depends on where Fetch’s mind is at. He’s always struggling with some internal dilemma, and I love to make him bump into the perfect creature that will make things even worse.

GDM: Are you a big fantasy and science fiction reader? Which books have you been inspired by?

LA: I’ve always been a big reader, but I only dabbled in fantasy before this. I’ve been doing my best to catch up over the last few years. Most of the fantasy worlds that influenced me would have come from video games, anime, and film. I’ve been going through Final Fantasy 7 recently (remake, and replaying the original), and realized that it probably influenced Sunder City more than any book.

There’s plenty of Pratchett in my world, and I’ve stolen fantasy creatures from everywhere, but you’ll find more elements of Humphry Bogart than Hobbits.

GDM: One of the take-aways I had From The Last Smile in Sunder City was even under all the dark, the ominous, the despair, under the constant struggle to live, there is always a small shiny kernel of hope. As a reader, I am drawn to stories that have this; it helps me connect and want more as a reader. Was this always the intention?

LA: Sure. I love playing with the expectations we have of fantasy characters versus what we expect of ourselves. In worlds with magic spells, evil villains, and ancient prophesies, we want our heroes to find the special sword, kill the baddie, and restore peace to the land. When you’re younger, our world seems so different to the ones in books that it feels like escapism. But as you get older, you realise that there are actually these looming threats coming to destroy the us and villains who cause suffering for their own gain, but the bit that we struggle with (at least I do) is what we can do about it. Could we be better? Does anything we do matter? Or could we wake up tomorrow and actually make a difference?

I don’t know how to fix the world (yet) but I do know that a shared moment with a close friend or a perfect cup of coffee will help me get up tomorrow and keep searching.

GDM: Can you tell me a bit about Dead Man in a Ditch?

LA: The first book hints that the magic might not be completely gone for good. Of course, Fetch isn’t ready to believe that, but word has gotten out. Folks start arriving at Fetch’s door, asking him to find a way to fix things. That includes the police department, who invites Fetch to a crime scene where a guy’s face has been blown apart by a fireball.

With the stage set by the first book, Dead Man in a Ditch makes some big moves forward, though the shadows from the past are still hanging around.

GDM: Finally, I always like to end on a light-hearted question. The Dinner Party question. If you could have dinner and conversation with three figures from real life, alive or dead, or fiction, who would they be and why?

LA: Jim Henson. I think Sesame Street is the most important television show ever made and everything Jim brought into the world has made it a better place. Maybe I’d get to learn a couple of things but maybe I’d just get to spend a couple of hours in his presence.

David Bowie (Similar reasons to Henson, really) and Nina Simone (because she seemed really disappointed at Montreux that Bowie wasn’t there, so I’d die to see them hanging out). And there would be a piano tucked in the corner, as if by accident, but I’d never ask anyone to play (until the second bottle of wine, when I absolutely would).

I know they’re all creative, but then I would at least have a chance of joining in the conversation. If it was Nelson Mandela, Marie Curie and Martin Luther King, I’d be outed as an imbecile immediately.

- Grimdark Magazine (x)

#luke arnold #interview #the last smile in sunder city

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kirbopher · 5 years

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I went to see the "Mewtwo Strikes Back: Evolution" premiere at Anime-Expo!

Hey, everyone! I just returned from Anime-Expo where I was lucky enough to've seen the world premiere of the 22nd Pokemon film, Mewtwo Strikes Back: Evolution. Wanted to share some of my experiences on it!

I'll start with some information about the event, before going into details on the movie itself. First of all, this was (as far as I understand) the very first time any Japanese-language with English-subtitled Pokemon animation has been officially (and legally) released in North America (and possibly outside of Japan in general?) so I wanted to make sure I attended this pretty momentous occasion. The event itself was handled very well by the staff and there was a great bilingual host who oversaw the whole thing and really hyped up the audience. After the film screening was finished, the three related guests of honor, Kunihiko Yuyama (co-animation director), Motonori Sakakibara, (co-animation director) and Rica Matsumoto (Japanese voice actress of Satoshi/Ash) were brought to the stage to answer a few prepared questions and audience questions. Afterward, Rica Matsumoto performed "Mezase Pokemon Master" live for the audience, which was an absolute treat. Finally, after the reveal of Armored Mewtwo's upcoming appearance in Pokemon Go, we took a "family photo" with a mascot Pikachu making an appearance! The whole thing was a total blast.

Some key points involving the Q&A session:

Rica Matsumoto was in particular very excited to visit LA, especially because she had worked on the Japanese dub for Beverly Hills 90210 and got to visit the real location after wanting to for so long! In addition, she was so taken aback by the audience's enthusiasm for "Satoshi", knowing how they were far more familiar with "Ash", but felt a strong connection to them through the character and Pokemon in general. The two animation co-directors Mr. Sakakibara and Mr. Yuyama shared similar comments, being blown away by the audience's emotional reaction. The screening also gave them major nostalgic flashbacks to first working on the original over 20 years ago. They were also so grateful.

I was fortunate enough to be chosen to ask the first of the three audience questions. First, I thanked them for giving us the opportunity to see this film in its original language with subtitles, as this was a tremendous honor to begin with. After mentioning that the American fandom was very appreciative for the English dubbed version of the TV series and movies, I asked if they would be able to give us any other future opportunities to see ANY other Japanese-language Pokemon animation down the line. Mr. Yuyama said they have plans, with Rica Matsumoto following with "Count on it!!" Nothing further than that, but definitely a good sign!

The next question from the audience asked about a trailer featuring footage involving what appeared to be an older version of Misty, why it was cut and what its involvement was to the movie's early stages of development. Mr. Yuyama simply responded with (paraphrasing, here) "While that was meant to show the image of an adult, the character in question was not actually an older version of Misty. The haircut is very similar though, I can see why you would make that mistake!". Rica Matsumoto adds (again, paraphrasing) "It just goes show that there's so many pretty girls in Pokemon, it's easy to mistake them for each other sometimes!" (Personal note: obviously this is sort of 'dodging the actual question', but it's likely they either weren't allowed to go into detail as to what that early trailer was all about, or possibly forgot about the details since it had been so long ago.)

The final audience question asked about what led to the decision to re-do the original film with CG animation. Mr. Sakakibara mentioned that they had wanted to do a CG Animated Pokemon film for a long time, but thanks to the collaboration with the 3D animation studio they worked with (I've forgotten the studio's name unfortunately, sorry!) they were able to finally make it happen. They chose Mewtwo Strikes Back as the experiment piece in order to try pushing the original character animation even further with the expressiveness and emotion.

I'm sure fans of her know this already, but Rica Matsumoto is an absolute ROCK STAR on stage. She loved teasing the audience and getting them amped up, commanding us to get louder and louder! "When I say 'Pokemon', you say 'Getto da ze!'" was a real highlight. To her, "Mezase Pokemon Master" is THE defining Pokemon song.

Next, I'll talk about the film itself. To those of you who don't want to be potentially spoiled on some of the differences between this and the original movie, skip this part!

The subtitle track for the film used all of the official English names of all characters, including the humans, Pokemon creatures, attack names, locations and even the nicknames of the guest characters' starters ("Bruteroot" and "Shellshocker"). For the most part, the translation was very close to the original Japanese dialogue, but there were definitely a few liberties taken at times. Team Rocket's motto was changed to reflect the English adaptation ("Prepare for trouble and make it double" etc.) along with referring to Ash/Satoshi as "Twerp" (instead of "JARI-BOY!"). There was also a very obvious 'joke' on the translator's part involving a new scene where Brock/Takeshi hits on Neesha/Sweet, proclaiming something about his "jelly donuts" (ending in the ol' Misty-dragging-him-away-by-the-ear gag). As this scene had completely new dialogue, I wouldn't be able to cross-check whatever the 100% accurate translation would be off-hand. A couple other liberties taken (in a way), were that certain lines throughout the movie were word-for-word 'translated' as lines from the original English dub of Pokemon: The First Movie. Thankfully these were rare, but one that definitely sticks out was the "I see now that the circumstances of one's birth are irrelevant. It is what you DO with the gift of life, that determines who you are." at the film's climax. Lastly, Mewtwo's words asking "Was I created by God?" and the scientists' response, were adapted in the subtitles as "Was I created by nature?". (Personal note: Likely this was to avoid flat-out religious references.)

The film begins with Dr. Fuji and his crew retrieving the Mew fossil from the ancient ruins. The "Birth of Mewtwo" sequence involving Amber/Ai is NOT included in this version of the story; the following scene leads directly into Mewtwo's awakening in the tube, to which the movie plays out as you remember it.

Dr. Fuji's laboratory is tremendously redesigned, but the same events transpire.

Mewtwo's armor is, as you've noticed, also fully re-designed. We see many re-directed (in terms of cinematography) scenes from the sequence of his servitude to Giovanni/Sakaki, including Gary/Shigeru's from-behind cameo. The main element of difference in the armor's usage is, just before blowing up the Team Rocket base upon defying Giovanni, it transforms into a binding 'prison' sort of state, to keep Mewtwo confined if he ever fought back...of course, he breaks it easily and flies off, just as before.

The first sequence where we see Ash, Misty/Kasumi and Brock starts a little earlier than in the original, showing Ash more excited and offering to help set up the table for lunch. It then cuts to slightly later where he's tired and slumped over the table. The Pirate Trainer "Raymond" appears again (still with all his glorious Engrish), now with a slight redesign involving bigger hair and the theme song battle sequence plays out. Worth noting, during the 3-on-1 against Pikachu, his Golem is replaced with a Drowzee. (Personal note: Likely to circumvent the "Thunderbolt should be ineffective against a Ground-type" argument.) We also see glimpses of Mewtwo and the mind-controlled Nurse Joy viewing the battle. Just before Dragonite shows up to deliver the invitation, we also see a bit of the gang's other Pokemon used in the movie: Vulpix, Psyduck, Squirtle, Bulbasaur and Charizard, eating Pokemon food.

LOTS more trainers in the dock scene. The pier master Miranda/Voyager actually speaks of Wingulls showing signs of how bad the storm is, warning everyone again. We see a few more trainers attempt to travel to New Island, including one who tries Surfing on their Kingler and another who is carried by their Scyther...neither of them make it, along with whoever tried flying with their Fearow like in the original. RIP.

The Vikings-the-mostly-live-in-Minnesota are replaced with an equally-funny costume theme of the Team Rocket trio as some tourist-trap sailors utilizing a Lapras-shaped ferry service. Brock comments on how conveniently they showed up and they all get on. We then get a very Disneyland 3D Attraction-style sequence of the two trios riding through the storm before it crashes and Misty sends out Staryu to try and save the day. Another extended sequence of Ash, Misty and Brock clinging for dear life to Staryu plays out, including a really gorgeous orchestral arrangement of...the Sun & Moon Wild Pokemon Battle theme, of all things!

Ash and the others meet the other guest trainers. This is where the short added scene of Brock hitting on Neesha is added.

In general, while the grand majority of the things that happen in each scene are the same as they are in the original, a lot of the animation is expanded upon and really pushed in terms of expressiveness. Often this makes them longer than how they were before, but it's definitely paced out properly to fit with the adjustments they made.

The battle arena sequence plays out and all 3 of the battles between Venusaur, Blastoise and Charizard Vs. their super-clones are extended with new fight choreography and additional attack exchanges, including with later-added techniques like Energy Ball and Leaf Storm. This scene also features a completely new background music track from the one used in the original film (later used quite a bit in the anime).

The sequence of Mewtwo capturing all of the humans' Pokemon plays out, also with new background music as opposed to the original. A few new shots of the trainers trying to guard their Pokemon from being captured are added.

After the super-clones emerge, Mew appears to save Ash from being splattered against a wall, the Pokemon and their clones brutally beat each other, now with new sweeping camera angles and new music instead of the original.

When Ash rejoins Misty and Brock after climbing down from the castle, a few bits of dialogue are slightly played around with, but leads to the same untimely demise. Some new DBZ-esque glow effects are applied to when Ash is struck by the two psychic blasts and his turned-to-stone state is a bit more like crystal. Pikachu trying to Thundershock Ash back to life lingers a bit more, to show the desperation in Pikachu's attempt. When the other Pokemon begin shedding their tears, their actual sounds aren't heard and the scene is silent minus the background music.

The memory erasure happens yet again, sending everyone back to the docks. From just after Ash sees Mew flying in the sky, commenting on it, up through Team Rocket's sign-off on the now-abandoned New Island, the orchestral arrangement of the Pokemon Red & Blue Credits theme plays. For the movie credits, we're treated to a new remix of "Kaze to Isshi Ni" (featuring Shokotan) along with some 2D paintings of Ash, Misty and Brock traveling. One shows a flock of Wingull near the dock area! At the end, we see Mewtwo and the clones flying off to what appears to be Mount Quena from the "Mewtwo Returns" TV special.

Finally, as is always the case, a very short teaser of the "Pokemon 2020" film, showing a 2D-animated Pikachu in the style of the Sun & Moon series.

There might have been some things I missed, but that's everything I could recount! If you have any other questions, I'll try and answer them as best as I can. To anyone else who was there for the screening, feel free to add anything else you like! Overall, highly recommend folks who enjoyed the original Mewtwo Strikes Back movie to go see this when the English version comes out!

#pokemon #anipoke #mewtwo #mewtwo strikes back evolution #pokemon movie 22

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animeindoblog-blog · 6 years

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Fullmetal Alchemist Live Action Movie Review

New Post has been published on http://animeindo.org/blog/2017/11/29/fullmetal-alchemist-live-action-movie-review/

Fullmetal Alchemist Live Action Movie Review

Sloan The Female Otaku

Never Forget

Episodes : 1 (Movie)

Genre : Fantasy, Adventure

Aired : Nov 2017

We’re assuming you have either read the critically acclaimed manga, or watched the masterful anime series of the same name. This article will mainly focus on the live action Fullmetal Alchemist film as an adaptation. Thanks to the staff at Anime NYC, we were lucky enough to watch this amazing film before it even aired in Japan. But in case you forgot about the story, or just want to take a trip down memory lane, continue to the following section.

Contains Spoilers

Alchemy is magic down to a science of sorts. To create something, one needs to give up something else in equivalent exchange. At a young age, the Elric brothers, Ed and Al, became fascinated with alchemy. After their mother died of a sudden illness, Ed and Al decided to bring her back through human transmutation – the ultimate taboo in alchemy. By doing so, Al was taken away and their mother appeared as a burnt corpse. Heartbroken but not defeated, Ed gives up his arm and leg to bond Al’s soul to a suit of armor. Now the two search for the Philosopher’s Stone, a stone that can create anything without having to do an equivalent exchange.

Thankfully, the boys are very talented, as Ed can use alchemy without having to create a transmutation circle. And Ed can still use alchemy, even as a hollow suit of armor. Becoming the youngest state alchemists of all time, Ed and Al find themselves closer to the Philosopher’s Stone. Time and time again the Elrics run into fakes, but through their journey, they uncover the truth about the stone and their government.

In the meantime, strange supernatural creatures resembling humans roam around every corner, and Ed and Al keep running into them. They are homunculi; artificial humans. Their job is to protect the sacrifice, and enforce any order Father insists upon. But eventually, the truth sets itself free, when Ed and Al discover that the Philosopher’s Stone is made up of human lives. They decide to give up on the Philosopher’s Stone and find another way to get Al’s body back. But first, they must defeat the homunculi and everything else the government is hiding.

Before the film started, an interview was played with the original creator of the manga, Hiromu Arakawa; and Ed’s actor, Ryosuke Yamada. Arakawa’s face was covered by a drawing of a cow, as that’s how she sees herself. The two talk about how they love the film and seeing it come to life. Arakawa herself especially loved the movie, and even wants to see a sequel. If the original creator is happy with the film, how could anyone dislike it?

Within recent years, we’ve gotten more live action adaptations of multiple anime and manga franchises than usual. A lot of the time, the live actions are rushed during production, so they look cheaply made and horribly adapted. It’s as if the director didn’t care for the original work. This is not the case with Fullmetal Alchemist. The characters were perfectly cast, the CGI was lifelike, and the pacing was phenomenal. You could tell that director Fumihiko Sori, is very passionate about Fullmetal Alchemist, and truly put his heart into it.

To properly adapt the entirety of Fullmetal Alchemist, studio Bones made it into a 60 episodes anime series in 2009. However, a movie can only run for so long, hence why Arakawa would like to see a sequel. The live action film is over 2 hours long. It adapts the first season and a half of Fullmetal Alchemist Brotherhood. This means that characters were cut out, and integral scenes to progress the plot were also scrapped. However, Sori was able to make every flow just right so that Fullmetal Alchemist fans and newcomers would be satisfied.

Speaking of satisfied, the ending leaves you with the same feeling of excitement that you had when you first watched/read Fullmetal Alchemist. Sure, things were rushed and changed towards the end (more on that later), but overall, Fullmetal Alchemist did its best to bring the story to life. Moving onto the technical side of things; the CGI was stunning. There weren’t any awkward green screen backdrops, or cheap special effects. Al was completely CGI, but the way he moved made it seem as though there was an actual person inside that suit of armor.

When alchemy is used, a spectacle of rocks or flames soar in the air. It’s incredibly lifelike, to the point that you have to question whether it’s really a special effect. As for the soundtrack, it captured the atmosphere of a fantasy adventure series. And the theme that played during the credits was a catchy pop song that we will gladly download. But don’t just watch the credits for the catchy song, there is a special clip as well!

Why You Should Watch Fullmetal Alchemist

1. Perfect Casting

There is no way we could see any of these characters being played by anyone else. Not only do they look like the characters (despite the story taking place in Europe, and the actors being Japanese), but they got the personalities down pat. Although Al is CGI, Atomu Mizuishi did great voice acting as an innocent sweet child. The actors put so much effort into their characters, that you feel as if they are the characters. Moments of sadness may even make you tear up, as you see a character breaking down or screaming.

When our favorite characters first showed up on screen, the audience cheered. Not only because we love the characters, but because they appeared in a way that’s uniquely them. For example, Maes Hughes, a character beloved by all for his happy attitude, makes his entrance by busting through a door with the biggest of smiles. Roy Mustang enters the big screen by showing off his epic flame alchemy. And Ed (as a 13-year-old) appears by jumping off a building, sticking the landing, and saying a cool one liner.

2. Pacing

Although the film was rushed and even changed towards the end, the majority of the film was paced very well. Immediately, you’re introduced to Ed and Al’s backstory, followed by the end results of the Liore priest’s actions, and quickly making a trip to the Sho Tucker incident. This may sound rushed as well, but in actuality, only the important parts from the manga/anime were shown. This gave the audience no time for dilly-dallying, but instead wrapped us into the fantastical world and plot. By adapting important scenes, a newcomer would not have to force themselves to read the manga in order to understand the story.

Given the length of the film, and the content the director had to work with, it is very impressive that almost every character got enough screen time. From the film, a newcomer can understand and sympathize with Ed and Al’s tragic past. A newbie will also feel a romantic bond brewing between Ed and Winry. It’s honestly mind blowing as to how Sori was able to compile so much of the story and have it make sense, all in roughly 2 hours.

Why You Should Skip Fullmetal Alchemist

1. Changed Ending

When adapting a work, you can almost always expect something to be changed. The question is how much will be changed, and how big of an impact will the change have on the story? Unfortunately, the last 30 minutes of the film were drastically altered. The worst change by far was giving Sho Tucker more screen time. Yes, you heard us correctly. They gave one of the most hated characters in anime/manga, more screen time. Sho Tucker was released from prison, and sort of played the roll Kimblee had in the original series.

The same can be said for Hakuro, as he played the role of Wrath. Sho Tucker and Hakuro team up to create an artificial army using Philosopher stones. The famous scene of Roy Mustang repeatedly killing Lust was also changed. Instead of carving a transmutation circle into his hand, and snapping his fingers repeatedly to kill Lust, Mustang gets help from Ed and fires a long beam of flames to burn Lust. Lust then dies feeling happy that she could die like a human.

2. Cutting Out Characters

There are a wide variety of fan favorites throughout Fullmetal Alchemist. Such as Armstrong, Scar, Olivier, and Greed. Sadly, none of those characters show up. This is especially odd in Greed’s case, considering that Greed plays a huge role in the story by introducing homunculi to Ed and Al. Wrath was briefly mentioned in the film, but again, his role was taken over by Hakuro.

Even stranger was Scar’s disappearance. Multiple times throughout the film, we were told about the Ishvalan War, and later find out that Ishvalans were used for the Philosopher’s Stones creation. Seeing Scar trying to get his revenge for the slaughter of his people would have made sense in the film. Perhaps they couldn’t cast a tan enough person who spoke Japanese? Whatever the case, we just wish one of these characters had screen time instead of Sho Tucker.

Fullmetal Alchemist is most definitely worth your time. If you want to introduce a friend to the story even though they’re not into anime, then this movie is perfect. And if you just want more Fullmetal Alchemist in general, you’ll love the film even more. It may not be a perfect adaptation from start to finish, but what we got made us more than happy to see a sequel. Will you be watching the Fullmetal Alchemist live action film? Have you read the manga, or watched the anime? Let us know, and we’ll be happy to reply with our experiences as well. Till next time!

Author: Sloan The Female Otaku

Sup everyone! I’m your female otaku. And that’s the intro I use for my Youtube videos. After being an otaku for 5 years, and a lover of film editing for 8, I decided to explore my horizons by writing articles on anime and otaku culture. I also love cosplaying and making people laugh. Please subscribe to my channel at Sloan The Female Otaku if you want to see more. Sayonara!

Top 5 Anime by Sloan The Female Otaku