#I want to talk more about how outstanding storytelling in manga is | Explore Tumblr Posts and Blogs

cafeleningrad · 3 years

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The anon is frustrated because shoujo manga, a genre more or less equivalent to YA, tends to feature much more complex and nuanced storytelling. For every middle school romantic comedy there's something sparkling with imagination, and the very best series have outstanding artistic and intellectual value not only among manga but literature as a whole. In general, Japanese works seem much more cerebral, while American works seem to celebrate antiintellectualism.

Good morning, Anon :) Are you summarizing the reason I got into anime/manga as teen? Because during my teen times the staff at the local bookshop or librar recommeded me stale love story after stale lovestory. After reading halfway through I had to give the books back out of frustration but when reading Kodomo no Omocha, Inuyasha, or Otoyome Gatari, I noticed how good romances can actually be if the characters matter.

More or less, yes. Following the frame I set up in a previous ask of YA as marketing label directed at teen readers, Shoujo and Shounen would fit into the category right away (although it’s a more a marketing label and has no age limit for readers ;).) As I specifically talked about the romantasy formula targeting girls, Shoujo approximates it even more.

Yes, I agree on the target audience equivalency, mangas/animes having a much better track record of writing engaging stories. There may be many issues with the manga/anime community however it’s noticable how many guys in there are not ashamed even outright positive to talk about their interests in shoujo story. I mean, where else can you say “I haven’t watched [famous romcom] yet” and the next ten replies by guys are “OMG, YOU have to watch [famous romcom], it’s perfect and so cute, the main character is so adorable! You’re missing out on something great!” (yeah, it’s about Toradora ;) Or cheer on a female lead without any fanservice in the story like Yona of the Dawn? How so? Not because the stories are tailored to main audiences as well, shoujo is in it’s commonly saccharine style, heavily romantic and heavily emotion driven tone falling into a category often associated with highly feminine style. No, the stories are perhaps very feminine yet appealing in writing. The reason I personally can stand 98% of romance stories because I think romance is the hardest genre to nail down well. In theory the concept in simple: The writer creates two characters then entering a (romantic) dynamic getting the reader intrigued to read about. But that requires at least appealing characters who work in interesting ways together. And following that thought, yes, Shoujo is genre in a medium much more capable in writing characters who’re appealing to audiences. I don’t think shoujo stories are necessarily more clever in plot (Ouran High School Host Club reaches for it’s plot, Yona of the Dawn’s only creativity in fantasy-romance story lies in having it set in medieval Korean setting which is rare in Japanese manga - don’t get me wrong, I love YoD, Ijsut want to make a point) however I don’t believe plots need to be outlandishly clever in concept BUT the writing needs to be genuine and good in craft. A competent story telling leads the reader logically through a story, stories invested to be earnest are so much more memorable than one serving as reader insert fantasy. Let me put it like this: In theory Nana could be any slice-of-life, coming-of-age-story, Violet’s motivation in Violet Evergarden seems rather simplistic yet the strenghts of these stories are a sincere approach to investigate emotions behind decisions, the characters being significant as people with wishes, insecurities, thoughts and growth rather than replacing an entire personality by a cool gimmick and a quippy oneliner every other character around them could’ve said. To branch out: Shounen could fall easily into the trap of “person with cool power who says entertaining oneliners”, however many titles care to give their characters downfalls and hurdles caused by themselves as people.

This is where the hook of shoujo writing comes in. When it comes to entertainement categories terms like “cerebral” seem a bit out of place for the specific teenage-audience entertainment niche (not that stories for a tee audience can’t be intelligent but m understanding of the word made me immediately think of Death Note xD) although I believe to understand your choice of word

Note: About the general mention about Japanese media vs. Western media in matters of anti-intellectualism, I half agree but I get the sentiment. There’re enough anime I wish I haven’t watched their first three episodes, too many releases of the 349th idol show, enough US shows, movies and books I genuinely like, the recent trend of smaller and Indie-movie US-productions are downright capable to good, and the Isekai genre in it’s current state can please fade out as soon as possible as it’s not even repetitive but as lazy as the MCU formula as well as sexist. As mentioned in another message, Anime/mange are just another form of media like books, shows, podcasts etc. although heavily marked by elements from the country in which they’re produced. STILL I still agree with you on broad terms because the current state and yet too many of big productions are... bad. Well, I was the person writing a three page essay why I passionately hated Disney’s latest animated feature... Okay, to be more clear at the current state US movie landscape (except for only very few productions) is in tired shambles. Loaded and ever only investing in well known franchise titles is as secure as it’s self cannibalistic. No innovation in the stories since none needs to invent anything as brands are enough to ensure at least lukewarm criticism and at least enough income to cover production cost. Currently the landscape is over-saturated with big brand franchise titles or linked to big movie titles from good days past, all working with the same success formula. Maybe more people begin to nag on the MCU however there’re enough fan discussions as well as revenue for every new MCU related show and movie even if they’re quality in writing and editing decreases. Help, any movie made by big corporations wouldn’t have earned half as much money or critiques if the movies were made by other studios, because the brands on the movies alone work a massive amount of good will without effort. Every show or movie not linked to franchises is something, something super hero but any kind of concept twist imaginable (In that regard Isekai is the equivalent to the superhero genre :P). The only contemporary good take I saw was the Boys because it goes into the criticism of superheroes as “Übermesch-fantasy, mass production of the US-exceptionalism-narrative, celebrity culture - all other variations of superhero story can be mildly entertaining yet fall flat as they’ve nothing to talk about but their genre and desperately trying hard to be “not like other superhero stories”. Not only superhero stories, also all those following a style of better sucessful titles on masse.These stories are like chewing gum. They may sell with new, even outlandish flavours, in the end the the taste vaporizes rapidly and you chew on something leaving a stale taste in your mouth. But now, a safe formula still sells safely and with success because it ultimately doesn’t challenge anything. Anything disrupting the peace of security is a threat - such interruptions can be named as anything controversial. It doesn’t even have to be deep. No matter if you liked the last Jedi, none can deny Rian Johnson wanted to try something new. The dsruption form Star Wars fan viewing habits was massive. Even more controversial would be choice or conflicts which are ambiguous in result or fronts - just see how GoT cannbalized itself by thinking Martin wrote a story about good vs. evil, in the end dumbing down a story about opportunism, hunger for power into “dragon lady evil because ... Leni Rifenstahl shots I guess??” (and let’s not talk about the stupid takes within the fandom about perceived villainy...). Within an industry milking the same old cashcow, none currently none would dare disrupt the landscape with bold takes or thoughts - ambiguity, challenging questions are the most risky thing to do, possibly.

#Anonymous #long post #long reply #Lewis' ask box management

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themattress · 4 years

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Pokemon Franchise Narrative Comparison

To this day, there have been only three other mediums that have run for as long as the core Pokemon game series has: the anime series, the Pokemon Adventures manga series, and the Trading Card Game. With the obvious exception of the TCG, these have all had narrative arcs within each passing generation, and I want to use this post to compare their quality.

GEN I Games: Red/Blue/Green/Yellow Anime: Original Series: Indigo League + Orange Islands (The Beginning) Manga: Red/Blue/Green Chapter, Yellow Chapter

1st Place - Manga. The original R/B/G Chapter brings the world of the Game Boy games to life in stunning accuracy, while also its own spin on certain things and crafting a simple yet sophisticated coming-of-age narrative, with the Yellow Chapter being its Actionized Sequel that raises the stakes even higher and deepens everything within this manga series. Add to this clear influence from the anime and the fact that it’s the only Gen I product to feature the character of Green in it, and we have the definitive story for the franchise’s first generation.

2nd Place - Anime. While increasingly less faithful to the details of the games, the anime remained very faithful to the spirit of them while telling its own coming-of-age tale for Ash Ketchum in the Indigo League series, plus a “postgame scenario” equivalent with the Orange Islands series. The highlight of this story is definitely how it fleshes out the games’ main antagonists: Gary Oak, Team Rocket and Mewtwo, into interesting, memorable characters.

3rd Place - Games. The 8-bit adventure that started it all is incredibly bare-bones and basic: take the Pokemon League challenge, thwart the evil Team Rocket along the way, and if possible fill up that Pokedex with all 151 Pokemon (”Gotta Catch ‘Em All!”). As a story, it’s not very interesting, but as an excuse for gameplay it works marvelously and established a winning formula for the series, and to this day it’s still charming in its wholesome simplicity.

GEN II Games: Gold/Silver/Crystal Anime: Original Series: GS (Gold and Silver) Manga: Gold/Silver/Crystal Chapter

1st Place - Manga. It’s funny - in the first volume of the G/S/C Chapter, things seemed to be a definite downgrade from the Kanto-based arcs that came before in terms of artwork, characterization and narrative. But then the mysterious masked antagonist appears at the end, and from then on out things just keep escalating to such epic heights that it becomes the best Johto story in the franchise and arguably the best arc in the whole manga series! Practically everyone and everything from the previous two arcs end up joining up with the new elements and the series up to this point is brought to a satisfying, conclusive note.

2nd Place - Games. While the League challenge and Pokedex narrative threads are basically the same as before, and the Team Rocket thread is actually weaker, this story also features a stronger regional setting, a stronger rival, and stronger characterization for side characters both old and new, especially in the special edition, Crystal, making it a welcome step-up.

3rd Place - Anime. An attempt at a new narrative was notoriously abandoned early on, with Takeshi Shudo leaving the head writer position and the whole show devolving into formulaic Filler Hell. While the Johto League tournament that concluded the whole thing was good, there was barely a story to support getting there, and the main characters had all become Flanderized versions of their former selves by the end. Without question, the anime had jumped the shark. But Shudo did give us the best movie and an OVA that properly concluded Indigo League’s Mewtwo arc before he was through, so let’s not say it was a total waste.

GEN III Games: Ruby/Sapphire/Emerald, FireRed/LeafGreen Anime: Advanced Generation (Ruby and Sapphire) Manga: Ruby/Sapphire Chapter, FireRed/LeafGreen Chapter, Emerald Chapter

1st Place - Games. The first time that the games get first place, but only on the technicality that the other contenders are worse, since this really isn’t that big an improvement over the previous two generations’ game narratives. The biggest difference is that your character is the child of one of the Gym Leaders, and the evil team narrative thread (Team Aqua and/or Team Magma this time) builds to an epic high-stakes event that involves the Legendary Pokemon mascot of the game which will become a mainstay of the formula from now on. There is also the remakes of the original Gen I games, and aside from some small tweaks of improvement and a postgame scenario in an island archipelago (anime-inspired, perhaps?), the narrative is basically the same as it was before. Nothing outstanding, but serviceable.

2nd Place - Manga. Talk about a mixed bag...the R/S Chapter started out with promise but ended up going to shit in its second half, the FR/LG Chapter was fantastic only to conclude with a bullshit last-minute cliffhanger, and the Emerald Chapter that connects the two arcs is just stereotypical, badly-written shonen crap with only a few good elements in it (plus some ironic enjoyment to be had in its batshit insane climax). On the whole, this was the weakest period that the manga series has ever had, despite Kusaka and Yamamoto’s best efforts.

3rd Place - Anime. Beyond May and her character arc which, by some lucky fluke, came together wonderfully, the anime hadn’t improved that much from the Johto days. Hoenn was not done any justice (even the manga did a better job with it!), and the FRLG/Emerald composite for the filler arc afterward was just weird in spite of how entertaining half of it was. All in all, the anime hadn’t gotten a real narrative back. It was just going through the motions.

GEN IV Games: Diamond/Pearl/Platinum, HeartGold/SoulSilver Anime: Diamond & Pearl Manga: Diamond/Pearl Chapter, Platinum Chapter, HeartGold/SoulSilver Chapter

1st Place - Manga. Pokemon Adventures retakes its crown in this generation, with a phenomental two arcs in the Sinnoh region that are so linked that they essentially make up one whole story, and a brief, adequate arc in Johto that properly bridges the gap between those Sinnoh arcs and the Emerald arc before them. Whenever I think of Sinnoh, it’s the region portrayed in this manga that comes to mind, which is a testament to its high quality.

2nd Place - Games. One word can describe the narratives of these games: overcooked. There are a lot of good ingredients here that elevate the series’ storytelling to a new level, but way too many cooks who don’t have a unified idea of how to properly mix them together means that it becomes a muddled mess of mythology, philosophy and vague character motivations. This particularly pisses me off when it effects the otherwise solid Gen II remakes. However, the good elements are still good regardless, and as showcased by the following generation this was a necessary learning curve to get through, so it deserves some respect.

3rd Place - Anime. Ugh. Newly appointed head writer Atsuhiro Tomioka tries to have his cake and eat it too here, maintaining the anime’s banal filler formula while also attempting to tell a legitimate narrative, but he as just one man somehow manages to clutter up that narrative more than the several writers did for the games in this generation! It is an increasingly insufferable roller coaster of plot threads and supposed character arcs that are drawn out to the point of disinterest across four years, with you really feeling the disastrous pace when it takes a years’ worth of time between Ash winning his 7th badge and him winning his 8th. Combine this with the source material of the games being disrespected or cast aside perhaps worse than ever, and you get what I will always believe is the lowest point for the anime.

GEN V Games: Black/White, Black 2/White 2 Anime: Best Wishes + Best Wishes Season 2 (Black and White) Manga: Black/White Chapter, Black 2/White 2 Chapter

1st Place - Games. With this generation, particularly with its first set of games, the learning curve undergone in Gen IV paid off. This is quite possibly the richest narrative in the whole game series in terms of plot, characterization and themes, and the peak of the traditional formula. Combined with stellar gameplay, it creates a high point that has yet to be matched.

2nd Place - Manga. The Black/White Chapter had a rough start, just copying the games’ plot almost to the letter but with the characterizations for the main characters truly being less than ideal (see what I did there?) However, once Black and White go their own separate ways the arc starts rapidly improving until it ends on a phenomenal high note that segues perfectly in the Black 2/White 2 arc that, like the Yellow arc, is an Actionized Sequel and, like the Platinum arc, is essentially the continuation and conclusion of the same story as in the previous arc. The only real mark against it is that it can be too fast-paced which only adds to the frustrating irony of the absolutely Hellish schedule slip it underwent (8 fucking years for an arc of just 24 chapters / 3 volumes to be completed! It’s never going to live that fact down!)

3rd Place - Anime. Kind of the reverse of the manga: had a great start being the best that the anime has been in a long time, only to get progressively weaker, with the third and final year being a trainwreck of checking off plot points in a mad rush to promote the upcoming Gen VI and pander to the whiny fanboys who’d been complaining about the loss of the formula and D/P-style story writing (yes, they actually liked those) plus the “soft reboot” aspect going on, particularly with Ash. However, much like the Gen IV games, the Gen V anime proved to be a necessary learning curve for the future and is a highly impactful series in that regard, so it deserves respect for that (although I hate that both a natural disaster and the B2/W2 games screwed up the originally planned Team Plasma arc! It’s never going to live that fact down!)

GEN VI Games: X/Y, Omega Ruby/Alpha Sapphire Anime: XY + XY&Z Manga: X/Y Chapter, Omega Ruby/Alpha Sapphire Chapter

1st Place - Manga. I thoroughly dislike the story of the X/Y games and the Delta Episode of OR/AS, so imagine my surprise when Pokemon Adventures actually makes something good out of them (or, in the Delta Episode’s case, something tolerable at best). The X/Y Chapter is a delightful deconstruction of a lot of what’s in the games, turning what was light and fluffy and hollow into something dark and suspenseful and meaningful. And the OR/AS Chapter gets points for being the best that Ruby and Sapphire have ever been characterized, to the point where they’ve been officially Rescued from my Scrappy Heap (Emerald’s still lame tho).

2nd Place - Games. Like I said, I dislike the X/Y games’ narrative and the Delta Episode of OR/AS; I think they are the worst writing the game series has ever seen to date. But the main narrative of OR/AS - the actual remake of the Gen III games which features a lot of new and necessary improvements - is solid, and that’s enough to put the games at second place here.

3rd Place - Anime. Similarly, the one thing the anime series does really well - the Myth Arc, which includes the Team Flare storyline - is not enough to elevate it beyond third place, because the rest of the series’ narrative is just as lame as the X/Y games’, there’s not much benefit from OR/AS elements, and everything that it positions in its shameful fan-pandering utterly fails to deliver or add up to anything meaningful in the end. The Mega Evolution specials pretty clearly demonstrate that this should have been Alain’s show, not Ash’s.

GEN VII Games: Sun/Moon/Ultra Sun/Ultra Moon Anime: Sun & Moon Manga: Sun/Moon/Ultra Sun/Ultra Moon Chapter

1st Place - Games. The Gen V games have serious competition story-wise with the Gen VII games. Both S/M and US/UM are excellent, with things not done so well in one being done better in the other and vice-versa to the point where they compliment each other beautifully.

2nd Place - Anime. Miracle of miracles! For the first time since Gen I, the anime series gets its narrative in second place, with Daiki Tomiyasu and Aya Matsui completely reinventing it in a refreshingly fun and vibrant way. There are some missed opportunities here and there, but overall it’s a perfect adaptation of the Alola region and everything that makes it so great.

3rd Place - Manga. While this is still an arc of good quality that I like, it’s also perhaps the most disappointing since Ruby/Sapphire back in Gen III. After doing so well with Sinnoh, Unova and Kalos, one senses that Kusaka and Yamamoto struggled to adapt Alola to that same standard, and while the decision to keep US/UM as part of the same arc rather than be a separate one was wise, it’s during the US/UM half of the arc that things really start falling apart and the wasted potential of stuff that got set up earlier becomes overbearing. It doesn’t help that the leads are an unlikable hero with an interesting, relatable goal and a likable heroine with an uninteresting, unrelatable goal respectively. Let’s hope that the patchwork done in the volume releases fixes some of the problems so that I can like this arc even more.

GEN VIII Games: Sword/Shield Anime: New Series (Journeys) Manga: Sword/Shield Chapter

1st Place - Manga. As I recently stated, Kusaka and Yamamoto are back at their A-Game with this arc, taking advantage of all that was lacking in the games’ story and utilizing them in an interesting narrative that I can’t wait to further experience alongside our surrogate, Marvin.

2nd Place - Games. If the Gen IV games’ narrative was overcooked, then the narrative of the games four generations later is most definitely undercooked. It’s not the worst story - that’s still Gen VI - but it’s possibly the most disappointing since it’s so easy to see how it could have been better and you are left baffled as to why the writers didn’t go in that direction.

3rd Place - Anime. This series is highly enjoyable thanks to the continued leadership of Daiki Tomiyasu, but not only is there not as much of a narrative as there’s been in earlier shows, it isn’t even uniquely Gen VIII-based: taking place across all regions in the Pokemon World and taking influence from mobile games like Go (released in Gen VI) and Masters (released in Gen VII). Add to that the unfortunate hiatus it’s now on and it can’t help but be placed last.

#Pokemon #Opinion #Analysis #Comparison

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smokeybrandreviews · 4 years

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Smokey brand Select: Vast and Infinite

I’ve done a few of these Smokey brand Selects, lists of some of my favorite films in any specific sub-genre, and it occurs to me that I haven’t even touched my actual, favorite, sub-genre at all. A few of these movies have made different lists, sure, but I've never cobbled together an actual, dedicated, catalog for the Cyberpunk category. I absolutely adore these types of film. They capture every aspect I look for in a flick; Beautiful imagery, enthralling sounds, compelling narrative, existential questions, and so much more. The sheer depth of this genre lends itself to great storytelling, diverse creativity, and enthralling visuals. I love Cyberpunk and these films are some of the best I've seen.

10b. Johnny Mnemonic

Johnny Mnemonic is probably the purest, US made, Cyberpunk film I have ever seen. It’s not a great watch, there’s a ton going on all of the time, but it is bursting with creativity and ideas. I adore this film, I really do. Even with all of it’s confusing, spastic, scatter-brained, story telling, I loved this film. Up until The Matrix and then John Wick, Johnny was my favorite Keanu Reeves performance. That, alone, has me coming back year after year. I highly recommend checking this one out if your a fan of the genre but it’s probably the weakest select on this list by a wide berth.

10a. Virtuosity

I was hesitant to put this one on the list because, I mean, this makes it eleven instead of ten, but moreso because I wasn’t sure of this thing qualifies as Cyberpunk. There’s a couple ahead on this list that have the same issue but I ended up putting them on so I guess this goes on here, too. Plus, I never hear anyone talking about this thing and I feel it deserves a bit more of a spotlight. Virtuosity is a goddamn blast. There’s a great performance from Denzel Washington a trite but ably executed plot, and some pretty interesting choices from a relatively new director. The strongest draw, however, is Russell Crowe as the artificial, glass eating, super psychopath, SID 6.7, as well as all of that mid 90s, virtual reality, conjecture. Virtuosity is definitely a product of it’s time but it's still a great time to watch.

9. Tron: Legacy

Legacy is, admittedly, not the best film. Even so, i had a ball with this one. The soundtrack by Daft Punk, alone, is worth the price of admission but couple that with the stunning, neon, visuals and you have a combo that can move even the most stoic of moviegoers. I absolutely adore this film. It get way too much hate for what it is. I’m a little perturbed we’ll never see the capping to this narrative but, for a second outing, I really did enjoy returning to this world. I’d put the first on this list but I really did connect with it beyond how dope it looked. Legacy gave me so much more to dig my teeth into and I respect it for that.

8. 12 Monkeys

I don’t even know where to begin with this movie. I’ve seen it a few times and dissected it in a couple of essays for school but I'm still not sure if i understand it wholeheartedly and that is incredible. For a movie to keep me so off-balance and I still enjoy the show is testament to the brilliant direction on display. The plot, itself, as convoluted as it can be sometimes, is rather gripping once you get a handle on what’s going on and the performances are outstanding. Brad Pitt really shows his range in this one, shades of things to come. 12 Monkeys is a Cyberpunk on the strictest sense but, like The Matrix, I was hesitant to add it tho this list. But, also just like The Matrix, if it is truly a Cyberpunk film, it has to be required viewing.

7. Dredd

Dredd is entirely Cyberpunk. From page to screen, Cyberpunk everything. The first outing was a little too campy to make this list but the second? The Karl Urban Dredd? That one fits this list perfectly. It’s a crying shame we didn’t get a sequel. I was itching to see Judge Death do it’s thing but the siege of Peachtree was more than enough to sate my ultraviolent appetite. Seriously, this movie is outstanding and it’s a crime more people didn’t see it. I feel like if this thing was released today, maybe on VOD, it would get the respect it deserves. Too early to the party, it seems.

6. RoboCop

It’s crazy to me that all of the classic, US made, Cyberpunk movies are all championed by foreign directors. Ridley Scott, Denis Villeneuve, Terry Gilliam, and Paul Verhoeven. Verhoeven’s RoboCop is a scathing indigent of consumerism and it’s interchangeability with corruption. When I was a kid, that sh*t flew right over my head. All I saw was a dope cyborg named Murphy and a beautifully alien war machine called ED-209. As I got older, I learned to appreciate, more and more, Verhoeven’s vision and RoboCop became more than just an action film for me. This thing is one of the best in the sub-genre and far more intelligent than anyone gives it credit for being.

5. The Matrix

I don’t know if The Matrix belongs on this list. It never felt Cyberpunk to me but everyone else tells me it is. When I think about it, it checks all the boxes; Existentialism, robots, future dystopia, etc. All the boxes but I always felt it skewed more toward Neo Noir than anything. That said, if it is Cyberpunk, and it seems that is the accepted consensus, how can it not make this list? The Matrix is one of the most influential films ever made. It’s easily the greatest action film in history. Terminator 2 is usually the front runner for that title, I’ll eventually make a Select for action films so don’t worry, but Neo’s maiden voyage matches anything Cameron created.

4. Alita: Battle Angel

I was initially introduced to Alita way back in the early 90s. the SyFy channel, back then know as the Sci-Fi Channel, used to show these blocks of what was called “Japanimation”, later known properly as anime, and the original Alita OVA was one of the few that aired. I loved every bit of it. It got me wondering about the manga so i went looking for that, too. Imagine my surprise when it was hundreds of chapters deep and encapsulated an entire world. I was hooked. So was James Cameron because he optioned it for the big budget, US, blockbuster treatment and spent the next decade and change, adapting technology to bring Gally and her universe to life. What we eventually got was, hands down, the best adapted anime or manga to the big screen, ever. Alita: Battle Angel is an incredible film experience that deserves more eyes on it and more love. Here’s hoping HBO Max and ATT give it that sequel everyone wants because it gets real awesome after the rollerball arc we just witnessed. Plus, I mean, Rosa Salazar’s Alita is just f*cking adorable, man.

3. Akira

Akira was the first anime I really watched with intent and that viewing colored my perception of cinema going forward for the rest of my life. I had seen anime before, of course, but not like this. Macross and Go-Lion were serials, cartoons for kids, but Akira was a completely different animal. I didn’t understand the narrative as a child, that came later, but i knew the experience was revolutionary. As I watched this film over and over, year after year, I began to understand exactly the story being told in a critical nature. It wasn’t only the breathtaking visuals that held up. Akira is as influential as it is because of it’s absolutely pristine storytelling. It’s reputation is unassailable and if you count yourself a fan of cinema, you have to see it at least once. I am petrified at what America is going to do to this narrative, man.

2. Ghost in the Shell

Ghost is easily the most balanced Cyberpunk film i have ever seen. It’s what I measure all movies in the sub-genre against. The narrative is poignant, profound, and perfectly executed. For the record, I’m speaking about the 1995 anime, not whatever the f*ck ScarJo starred in a few years back. That sh*t was the worst but Oshii’s masterpiece? That sh*t is the best. For such a short stint in Masamune Shirow‘s world, you are immersed in the grit of it all immediately. Kusanagi’s story, her struggle with being and conflict, mirror each other brilliantly. This would be top of the list if not for how much the world, itself, resembles our own. The Cyberpunk aesthetic kind of eludes this most Cyberpunk narrative. Even that juxtaposition is a positive in my eyes.

1. Blade Runner 2049

This one was hard to place. I love the original Blade Runner to bits. I think it’s a masterwork of cinema. It’s deftly acted, brilliantly directed, and easily one of the most gorgeous films I have ever laid eyes upon. And then Denis Villeneuve drops his continuation. Everything i just said about the original, stands for it’s sequel, but maybe even more. 2049 is breathtakingly gorgeous. It tells a simple, yet, emotional story driven by outstanding performances from everyone. No one is bad in this at all. I enjoyed the characters as much as I enjoyed the first’s, absolutely falling in love with Joi and Luv. This movie is everything and doesn’t get the love it deserves. Admittedly, it can be a little long in the tooth, but it needs all of that time to tell it’s story. If you commit to the narrative, engage with the visuals, and accept what the film is offering, you will be absolutely rewarded with one of the best movies ever captured on film.

Honorable Mentions: Terminator, Appleseed Alpha, Hotel Artemis, Run Lola Run, Demolition Man, Black Magic M-66, Elysium, Upgrade, The Lawnmower Man, Dark City, Armitage III, Ready Player One, The Zero Theorem, Minority Report, Looper

#Smokey brand Select #Cyberpunk

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dabistits · 5 years

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I’m wanna make my own manga, so what advice can you give me to avoid what Hori is doing. (Btw I’m a boy) I still have to finish school before that but I wanna keep those advice with me

sorry it took so long to get back to you! i hope you will still find this advice useful regardless, even though it’s not incredibly specific. i could give you a bullet-pointed list of what to pay attention to (how much does this female character get to do in the story? would her pose be awkward if replaced by a male character? does she feel like a complex character? does she suffer unduly and in specifically gendered ways e.g. rape?) but i could come up with thousands of questions and it still wouldn’t be very useful for helping you actually learn how to spot misogyny in stories. so i’m going to give you a general list of things to do that will hopefully help you develop your analytical skills to avoid hori’s bs more than just trying to memorize a ton of questions.

consume other media. read widely, watch widely. familiarize yourself with the state of fictional storytelling today. you need a solid foundation upon which to start building your analytical skills, so that you have material to draw from when you think about what works and what doesn’t work.

talk to people. be they man or woman. it’s pretty fun to talk about media imo (otherwise i wouldn’t be running this blog), and it’s a great way to get different perspectives. if you’re in the company of people interested in media criticism, you will learn a lot, about lots of different things, if you’re willing to put yourself and your ideas out there. ask questions! let people help you work out confused feelings!

read what reviewers are saying, especially women. most of us who talk about media are pretty detailed about why we liked or disliked something (i regularly give specific examples about what bothers me in bnha e.g. why i feel like himiko is sexualized). so, what are those things? why did a lot of women like furiosa from mad max and what messages did they get from the narrative? why was wonder woman’s costuming considered an elevation from traditional women’s costuming in action movies? why is revolutionary girl utena praised for its complex handling of misogyny and patriarchy? on the other hand, why is there a lot of feminist criticism directed at quentin tarantino’s movies? why are so many women burned out on MCU’s “strong female characters”?

reading what reviewers and ordinary bloggers, especially women, are saying is the best way for you to familiarize yourself with the landscape of feminist media criticism. it’ll give you an idea of what our concerns are, our problems with sometimes fairly specific things (like how the cinematographic rule of thirds can be used to objectify women), and also how to do things well.

at some point, you’re gonna have to tackle theory. this is somewhat unavoidable. although much of media criticism has been deferred to popular culture in a way that you can probably grasp the basics through osmosis, i would encourage you to read academics that actually go in-depth into feminist theory in all sorts of media. laura mulvey’s “visual pleasure and narrative cinema” is probably one of the foundational texts in feminist film theory, but i find that most people don’t even know ‘male gaze’ was coined by her. the ‘male gaze’ as a concept originated in film theory! going in-depth into academic writing that painstakingly deconstructs a concept, usually with respect to specific examples, will help you make your own connections and be more confident in your own analytical skills, because they will give you the tools to apply disciplined commentary.

we’re not all going to agree (obviously). that’s one reason why i insist on going with the learning vs memorizing route. you’re going to see dissenting opinions, and you will probably disagree with some opinions and that’s just what happens by virtue of us being a multitude of complex creatures. i see too many people here who need to ask an assumed authority whether they’re “allowed” to do something, and that’s just kind of ridiculous! you can disagree with women. you can disagree with me. women disagree with each other and i disagree with some women. some women think bnha is a feminist masterpiece, and you will probably have to disagree with them. you’ll have to navigate these disagreements and make the best call with all the information and abilities you have at your disposal.

try not to think of a piece of media as “feminist” or “not feminist.” this article explains why asking if something is “feminist” is a moot point, and this post goes into all the issues we encounter when we start asking if something is really “feminist.” to oversimplify and to put those ideas more succinctly, the issue is that narratives can rarely be feminist or anti-feminist unless they’re propaganda pieces specifically made to advance feminist cause. narratives with good female characters can include ‘non-feminist’ elements. we can talk all we want about jennifer’s body being empowering or whatever, but it’s not actually feminist praxis to write a story in which a high school girl gets stabbed to death, even if she comes back as a demon to eat boys. someone could consider it personally empowering, but hopefully you would recognize that there’s nothing “feminist” about killing a girl. and that’s okay. something doesn’t need to be feminist to be enjoyable nor to have interesting things to say about women/womanhood!

pay attention to women of color. please please please keep this one hammered in your head. women of color are so often ignored for the sake of white women, and we get a lot of backlash when we talk about racialized misogyny in media. this happened with orange is the new black, it happened with atomic blonde, where the non-white, female love interests were killed off so white characters could mourn, and when woc pointed this out we got tons of backlash from white women. don’t be like those kinds of people! think about us and read our writings while you go through this list, please. the same goes for the thoughts of men of color (if you’re white), for LBT+ women, mentally ill women, disabled women, fat women... we all have thoughts about the way we’re represented in media and our concerns deserve attention, especially since manga has a bad reputation for being not only misogynistic, but racist, transmisogynistic, and fatphobic.

don’t let being a boy hold you back. this might be a weird piece of advice to hear, but all too often men either think they’re already the best at writing women or they’re so fragile that one piece of criticism from a woman will make him think we’re entitled shrews. don’t fall into either of these mindsets because they will weaken you. go into this with the idea that you can do well, and that you can improve. you can improve by listening to us and taking our advice, but don’t treat us as an authority figure telling you what to do every step of the way. you have your own voice and you’re able to make your own judgments. plenty of men have made good media about women (park chan-wook and the handmaiden, ikuhara kunihiko and revolutionary girl utena, basically all of ghibli’s filmography), so know that you can be outstanding.

i know that i talked about movies a lot, but i still hope this helps you because the basics of constructing a story and characters are the same. manga is also highly visual in the way film is, with respect to actually having images you need to frame and characters you need to pose, so i think a lot of knowledge is transferrable. you might also find critical theory about comic books to be useful, though i personally don’t really follow comics. lastly, if you see this answer after all, feel free to ask questions especially if something isn’t clear!

#ask

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missstormcaller · 6 years

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BLEACH JET Artbook Talk Vol 2 - Translation (Q16-30)

ABOUT CREATION

Its distinct characters, selection of poetic dialogue and countless array of illustrations are all a grand attraction of "BLEACH". We reveal how they came to be born and close in on the secrets behind the creation process.

Q.16: How do you come up with the Kidō and Zanpakutō incantations?

Kubo: I just do somehow.

—— J: That you're able to just do it somehow, is nothing short of amazing. When it comes to the visual impact and sound, which angle do you prefer to tackle it from? Kubo: I guess both the sound and visual impact at the same time? Speaking of which, I haven't composed a Kidō incantation in a long time. —— J: They exist in a variety of categories, such as the explosive types, the binding types and so on. Where does your vision of their respective techniques come from? Kubo: I'm not at all sure. I wonder where the conception of my ideas originate from. There were certain things which took inspiration from song lyrics for example. —— J: They rhyme pretty good don't they? Kubo: I think I'm seeking to make people start wanting to repeat the words themselves. Or rather, I want people to feel a somewhat good vibe when they say it, like the seven-and-five syllable metre. That, I would say, is the case for given names or the names of techniques, pretty much everything. Furthermore, I have a feeling there were also things that took inspiration from the likes of mythology, "The Devil's Dictionary" and phraseology that appeared in books of that kind, but I honestly don't remember at all (laughs). —— J: Isn't Hirako supposed to release his Bankai in Narita's novel too? Kubo: Narita put forward a request, asking "may I get Hirako and Hisagi to release their Bankai?" and he followed up with "if it's okay with you, please tell me their names" to which I replied "I will think about it", I finally finished thinking about it just the other day. Though, as a matter of fact, I haven't relayed that information to him yet. —— J: I'm looking forward to it (laughs). Do you associate ideas from the impression of the character? Kubo: I draw out a great number of words by way of considering the abilities of the technique, the original Zanpakutō name and the character's image. After consulting with Narita about the establishment of Hisagi's Bankai, I said "perhaps this will do" and the direction I took became something like "bodies that are tethered together", consequently I began writing a list of all the words relating to "binding", "rope", "chains" and "prisoner". By establishing a successful link among all of that, it becomes a matter of combining the words and such…. —— J: So then, your process begins with the task of expanding a list of vocabulary first and foremost. Kubo: That's right. —— J: Which character's Bankai name caused you the most struggle to devise? Kubo: This time, Hirako and Hisagi are probably up there in first place (laughs). Hisagi might have taken the most time. —— J: Apart from that, did you contrive ideas from the image of characters like Ichigo and Byakuya? Kubo: I had no troubles at all when it came to that case. Ichigo's Tensa Zangetsu is taken from part of a name of a monster I was thinking about drawing in another manga. —— J: Oh! When did that one-shot happen? Kubo: It's "Rune Master Urara" my debut one-shot for Jump magazine. For a period of time, I was having fun coming up with monsters that could appear in that work, it was a time where I had devised a many number of them, the name of this super strong monster-like enemy with the whole length of its body pitch black was "Tensa Jūzen", that's where I took the "Tensa" part from. —— J: The roots of Tensa originate from there huh. However, Tensa did not appear in "Rune Master Urara" right? Kubo: Yes. Well, it was the configuration of a character that I would draw in the event that the work got serialised beyond this point. The visuals for Dondochakka is also something I had devised around that time. In order to get serialised in jump, I went to around three meetings and, well, failed on all attempts, but in those course of events I produced up to three chapters worth of work and showed it to Asada san who was my editor in those days. I presented Dondochakka's character visuals in several patterns of the second or third chapter which I had submitted, but Asada told me "don't make such a scary-looking guy the ally"…. I thought "you're kidding me, isn't he adorable?" but it was hopeless. Though, since I liked him so much I thought I'd try to use him for "BLEACH" (laughs). —— J: Are there other characters with this kind of case as well? Kubo: I only recalled that through our chat just now. Since I was not able to use the character in the other work, I'd say that's probably just about the only case. Also, with regard to Orihime, she puts her Shun Shun Rikka into operation by way of her hairpins doesn't she? Although this is also a matter from before "BLEACH" was serialised, Orihime's powers were at one point completely different to what they are now, there was one version in which she would sprout horns and a tail. Personally I thought this was cute as well, but I was told by Asada "the heroine can't look like this monster!" (Laughs) I'm relieved it was Shun Shun Rikka in the end though (laughs). —— J: Were any of the monster-like individuals of Hueco Mundo, like the Arrancar and Fracción, also based on rough drafts from around that time? Kubo: In that instance, I believe I just drew them more on the spur of the moment. —— J: Were there any complicated characters that made you feel something like "this character was not all that strong in the past, but since they're getting stronger, I have to start thinking about their Shikai or Bankai!" Kubo: I guess that would probably be Hisagi. I didn't think he would get that strong (laughs). —— J: Characters such as Byakuya give the impression that they were super strong from the very onset after all. Moreover, when you achieve Bankai, the fact is it remains imprinted in the history of Soul Society. Kubo: correct. It goes down in the records. —— J: I'd never have guessed that Hisagi would possess that much strength! Kubo: Hisagi doesn't really seem to be the calibre of some hotshot does he (laughs)? Although, that ill-suited impression about him is Hisagi's likeable side anyway. —— J: That pitiful aspect is the good thing about Hisagi isn't it? I mean, it's like you you just end up poking fun at him. Kubo: That's what I said even when Tōsen left, normally it would be just fine to promote the lieutenant to captain with the change in circumstances, but I thought "Hisagi and Izuru can't possibly be captains could they?", the pair really give the impression that they don't have what it takes. These two shine more as vice captains. That's why I created the forced post of "acting captain" and settled the matter there. Depending on one's viewpoint, Hisagi is kind of a hero-like character who has come to gradually develop as a result of all the various hardships that have befallen him. —— J: He is a hard worker isn't he? Though, even Hisagi would have been outstanding befitting of his talent when he first enlisted. Kubo: It's also neat how that is like the peak of his life. But on account of acquiring Bankai, I can say he has talent!

Q.17: I would love to know Sensei's process when he's thinking up characters! Although it might differ depending on the character, I wonder if 'the face suddenly springs to mind', or 'the outfit floats into your head', or if the 'name appears before you' etc….

Kubo: Since I just manage to draw my characters somehow or the other, it's not so much procedural…. —— J: Does "somehow or the other" mean that maybe you think to yourself "let's draw some guy who appears to give a certain air of strength", or "let's draw some guy who seems the type to deceive others?" Kubo: The idea is already in my head. Rather than thinking about it through the flow of the story, when I envision it, it's as if a substance like milk or mud begins to accumulate, something resembling a humanoid form floats around aimlessly within it, after I pluck it out, its image is gradually made clear, I think that's how it feels? —— J: That's pretty abstract! Kubo: By that point I would have more or less settled on things appearance-wise, with that frame of mind I then either compose it on paper as a rough draft or leave it floating in my head…. Aside from that, if any names come to mind I make a note of it, from among these rough drafts and notes I combine a set of ideas that makes me say "ah, this person will be the one to enter the stage this time", and finally I specify the role. —— J: So then, you compose the names and designs separately? Kubo: Yes, I think I quite often do things separately. —— J: So it's practically like how Ichigo was was searching around for his Zanpakutō through Ōetsu Nimaiya's training? Kubo: If I had to make a comparison using "BLEACH", then I think that analogy is the closest you can get. Generally, when I think to reveal a new character, I already have just the right person in mind. The story as well the characters is something that comes from me, so there is an outline from the very beginning. —— J: A number of unpublished materials have appeared for the first time in this artbook, but basically a large quantity are rough sketches. You would very often draw it and then put it aside for the time being. Does this mean there are hundreds of blueprints for characters dimly occupying a space in the back of your head?

Kubo: That's true, they have been there for some time now. When I put forward new characters, it's almost like taking that vision out of my head and making a clean copy. However, sometimes I don't have time and can't make the appropriate adjustments, so their faces start changing gradually in the manga (laughs). In that sort of sense, I have never been troubled by things such as the storytelling, or scenes that establish new characters. —— J: Are there any characters who, for instance, you had actually planned to put out on the Shinigami side, but ended up being revealed on the Arrancar side instead? Kubo: There is no character whose blueprint has changed to that degree. —— J: On the same subject, which character would you say came to be revealed in the most underdeveloped state and changed at a later stage? Kubo: I think the character who underwent the most change in terms of appearance, is Ulquiorra. When Ulquiorra made his first appearance, he had quite a different face. The personal image of him which existed in my head didn't change during the the creative process, but later when I looked back on my work I thought "his face looks a lot different huh?" —— J: I see. Kubo: In some cases, when an idea for a character appears in my head, their looks, personalities and sometimes even as far their colouring are all decided then and there, as for other characters those things are gradually decided upon. —— J: Do you feel the volume of these characters increased day after day? Kubo: It's not that they were created on a continuous basis, but rather in waves. Sometimes I produce five or six characters in the space of an hour or so, and sometimes it seems I produce none at all for days or even months. Therefore, the characters multiply either when I'm in the zone or when it's absolutely necessary to create them. —— J: From the considerable number of characters that appear in "BLEACH", I'd say the state of 'being in the zone' can't last forever, even if you can yield five characters in an hour. Kubo: And this is after a great number of cuts have been made too. These were unreleased characters that I felt, did not suit the universe of "BLEACH". Then there's the unreleased characters that have the right aura which I am able to present in "BLEACH", but I am not sure which part of the story I should apply them to. —— J: Are they characters which were not even suitable as Shinigami, Arrancar or Quincy? Kubo: I make a rough decision on the location and scene before I start designing them as either Shinigami, Arrancar or Quincy, but then there are some individuals that make me think something like "There's no panels to spare to introduce this guy to story. What role would he have played?" So, perhaps by some chance they will make an appearance if the timing is right when I draw something? —— J: That is certainly a treasure-trove you've been sitting on. Kubo: There's also the characters that make think something like "I wonder why this dude came to mind?" (Laughs) Q.18: The unique names which belong to the characters of "BLEACH" are impressive, but how do you come up with these names? Kubo: Even when I think about character names, I consider the sense of sound. The example I often cite is Hitsugaya Tōshirō, because it needed to give a cool impression, I thought a name that begins with letters either in the "sa column" or "ha column" would be perfect. I feel those sounds come across most smoothly. That reminds me, I believe Hitsugaya had a completely different name belonging to the "sa column" right up until the last minute. —— J: I'm curious about the name which got rejected. Kubo: The fact that I had forgotten about it, likely means it wasn't a good name to begin with. In addition, I consciously try to avoid names from the "ma column" because it doesn't sound cool. —— J: I get the impression that you take a great deal of care in the way you use consonants. Bambietta Basterbine for instance is all B-B-B. Kubo: That's right (laughs). —— J: The types that rhyme are nice as well, like Grimmjow Jaegerjaquez. Kubo: I'm often told that with regard to Grimmjow. —— J: It sounds cool, so it's a name that makes you start wanting to say it out loud.

Q.19: Regarding the characters' theme songs, I wonder how you visualise your characters to determine their songs through a piece of musical composition?

Kubo: When I'm planning and designing a character, a song that's familiar to me could start playing in my head and I think "that works a treat", in some instances when I'm drawing the scene in which the character first appears, a song that's playing in my head could naturally become their theme song.

Q.20: Are there any characters that received new theme songs around the time of the last chapter?

Kubo: Well, I've got nothing off the top my head. —— J: So the vision you decided on at the beginning, remains as unchanged as before? Kubo: Yes, that's true. Even if I had tried to listen around for a theme song once more, the one I chose in the beginning will always be the best suited.

Q.21: Each character has their own theme song, but do they also have their own fragrances to suit their image? I imagine it would be interesting if sensei did a collaboration with a perfume brand….

Kubo: I'm not all that familiar with perfumes, so please feel free to ask a perfume manufacturer instead (laughs).

Q.22: I'm curious to know if there are any characters who who radically transitioned away from your initial conception and setup, both during and before the series.

Kubo: Grimmjow is the one who underwent the biggest transformation. I get the feeling I've mentioned this elsewhere, but Grimmjow was initially set up to die before long, it was my plan to make him exit the stage as the story progressed, however when it came to the crunch I began drawing, and by the time I had finished drawing that week, I had already felt it was a waste to kill him off. I thought "this guy is too good", so when I informed my editor at the time that "I changed my mind, I'm going to abandon the idea to kill him off", he told me "to be honest, I also thought it would be a waste to let him die", this is a conversation I remember quite well. —— J: It certainly seems as if the side to him which is wilfully arrogant and confrontational would mark him out as an easily defeated character, however out of that, components like revenge and fate were affiliated with him and thus he became a great character.

Q.23: I would like for sensei to tell us if he is particular about anything when he's drawing female characters!

Kubo: I, don't think I'm good at drawing females. —— J: There's no way that's true…(laughs)! Kubo: For that reason, I'm not very particular about it. If I had to hazard a guess, I'd say "I hope they look soft" and that's about it. When the series first commenced my lines were rigid, and I should say I was fairly annoyed by that….That's why I want to draw my lines softer for females. —— J: Noel's thighs in "BURN THE WITCH" when she was riding her broom, as well as the straps of her holster biting into her skin, that appeared to be most supreme level of soft (laughs). Kubo: Well, I'm glad to hear that (laughs). As a matter of fact, I even came to like big boobs because I was attempting to draw bodies with a softer look. —— J: So you came to like them while challenging yourself to draw a soft look. Kubo: Originally, around the time I was still a student, I liked small boobs better since they were easier to draw. —— J: That would apply to Rukia too. Kubo: But then I thought to myself "man I really suck at drawing a big bust", so when I was drawing "ZOMBIEPOWDER" I firmly decided that "I want to get good at drawing a big bust", once I had observed a sufficient number of big boobs in the hopes of drawing lots of them, I gradually came to like it. —— J: (laughs) Kubo: I won't be able to draw them better unless I like them after all. Since I grew to like them, I think it became possible to draw voluptuous figures with a more racy look. —— J: That is glorious (laughs). I remember quite clearly, some time ago, it was said that Kawashita Mizuki sensei is an artist Kubo sensei considers skilled at drawing. Kubo: That's true, it goes without saying that she is skilled, I am fascinated by those who can draw things which in my opinion I wouldn't be able to draw for myself. I can't do line art like Kawashita sensei.

Q.24: When Kubo sensei paints in his colours, does he use Copic markers? Or a graphics tablet?

Kubo: Copic markers. —— J: What about digital painting? Kubo: I can't do digital at all. In the past, there was a period between "ZOMBIEPOWDER" and the serialisation of "BLEACH", I used to challenge myself when I had the time, however I found that I couldn't draw at all like that. I thought "this is hopeless." —— J: You had tentatively challenged yourself right? But these days there are drawing programs like "Jump PAINT". Kubo: It's an app isn't it? These tools are becoming a lot more user-friendly huh. After all, back in those days there was nothing but the likes of "Photoshop" and "Painter". —— J: Nowadays, fellow manga artists will meet up and draw illustrations with their iPads on the spot. Kubo: They meet up and exchange drawings? —— J: They all jointly contribute by setting themes for each other, then start drawing something with their Apple Pencils, apparently these gatherings are really exciting. Kubo: I recently purchased an Apple Pencil. I tried using it, only to find that I was totally incapable of drawing on it . When Jigoku No Misawa and his wife (Matsubara Makoto) last came to visit, Makoto san tinkered around with the Apple Pencil for a little while even though she couldn't draw, she was telling me "if you play around with this thing here then this will happen, you follow?"…. Then it got to the point where I was able to draw on it (laughs). It appears that I'm just useless with devices. I think it would probably be a lot fun if it reached a point where it's more accessible for me though. —— J: When you're drawing on an iPad, you're drawing on glass, so the sensation of drawing on paper isn't the sensation being transmitted to your hand. Although, it appears that recently they started selling screen protectors which make you feel like you're drawing on paper. Kubo: I would be able to draw with something that feels like an actual pencil, that's insane don't you think!? Well, I'm slowly running out of reasons not to work digitally (laughs). But, the biggest reason is that my eyes tire. That's why I wear glasses that cut off blue light when I play video games. I would have to wear those glasses the whole time when it comes to drawing digitally right? Given that it would end up altering my perception of colours, on second thought, I feel it would be too difficult to work with digital as my main art medium.

Q.25: Please tell us the approximate duration of time it takes to go from rough draft to one page of a manuscript. I also draw manga and illustrations so I'm very interesting to know. I'm looking forward to your response!

Kubo: In my case, my storyboards become my rough drafts as it stands, so it's a question of how I should go about calculating time. If we're speaking with regard to the time it takes for the drawing process, it depends on what's on the page itself after all. And considering the fact that I was getting through fifteen pages a day during the series…. —— J: Is the duration of that time used for inking your sketches? Kubo: Yes. At my slowest I spent 8 hours for fifteen pages. Therefore, it would be roughly 30 minutes for one page. —— J: That's insanely fast (laughs). Kubo: However, midway through the series, I felt it was a detriment to my health, so I asked if I could have the number of my pages decreased. That made things much easier. From there I worked through thirteen pages a day. I would spend a day and a half inking my sketches, but I would always reserve just four pages for the other 'half'. Somehow I manage, or to be more precise it may be down to the fact that I am forced to finish with great momentum if there are four pages remaining. —— J: Do you prefer to compose your pages in a sequential order? Kubo: Yes, I feel more excited about it that way. I too want to get charged up along with the climax of the story in my manga (laughs). If I first start drawing a scene that takes place after the end of the climax, I don't get excited for some reason. As a result, when the distribution of my pages is poor, I'll end up continuing with the scene thinking "this is wearing me out", but then my thoughts become something like "if I can overcome this, I'll be able to draw some great faces!" I did my page distribution chronologically in order enjoy the drawing process. —— J: It's an intuitive method but makes sense nonetheless.

Q.26: What do you do when you're at an impasse with regard to material for the story? In addition, please tell us what you place the greatest importance on when drawing manga.

Kubo: Whilst drawing I'm already thinking about the next chapter, so I don't really find myself at an impasse much when it comes to material. During the series, I would construct my storyboards in accordance with the course of events, then I would start inking and at the same time would have devised the following chapter. —— J: Some illustrations are for coloured title pages, some are almost a kind of continuation of the story, and others are poster illustrations that have no relation to the story at all. How do you decide which one of these to do when you're drawing your storyboards? Kubo: On the occasions I get to create coloured title pages, I bear it in mind when I think "this is the sort of painting style I want to do next", and by the time I get around to making a coloured illustration I feel like I can compose any one of those things. Whenever I didn't have the luxury of time, I would search for painting techniques in a short span of time (laughs). —— J: This Gremmy illustration (JET volume 1, p.277) exudes quite a malevolent atmosphere, but is this the painting style you were attempting to go for? Kubo: I think I wanted to go for a creepy feel, I painted it using a brush and my fingers. —— J: So you start by having some idea of a painting style. Kubo: Well, I think that applies to pretty much everyone (laughs). —— J: By the way, roughly how long does it take for you to think about the composition of each arc in "BLEACH"? Kubo: It's more or less determined at the introduction of the arc. Around halfway through the Arrancar arc, I participated in a stage event at Jump Festa, there I was asked "how much longer will 'BLEACH' continue?" I said "I will draw two more arcs and then it's complete." So, setting aside the length of the story, at that point in time, I would have been deciding the endings five chapters into the arcs. —— J: I see…. So then, I wonder what you place great importance on in terms of drawing manga? Kubo: What comes to mind when asked about an area I place great importance on, or rather, an area I'm 'particular' about, is how to lay down the foreshadowing. I compose the foreshadowing element by dividing it into stages, but since this element in itself is explained in the novelisations through text, I won't talk about the 'stages' here. Nevertheless, I believe the things you discover on the first reading are not foreshadowing to begin with but rather an ice breaker, or to be more precise something like a freebie I give away to readers that says "please anticipate things to come from these depictions in the near future!" After the big reveal you go back to read it again at which point you're able to say "so this was foreshadowed!?" Now that in my opinion, is foreshadowing. There are two reasons for this, one, I like thriller movies, though do you sometimes have predictions that you've made midway through those thrillers, I mean ones that completely hit the mark by the conclusion? —— J: It happens every once in a while. Kubo: I hate that, I think to myself "if it's supposed to be foreshadowing, then keep the reveal hidden properly!" and "surprise me with the reveal why don't you!" (laughs), second, I think a great amusement of the manga or rather the storytelling, is that after enjoying the main story you get to debate with friends that it's "neither this way, nor that." —— J: Indeed it is exciting to exchange differences in interpretation with friends. Kubo: If those debates are the most exciting part, then I hope when people discover new bits of foreshadowing after looking back on works they've grown to love, that they get to experience an indescribable feeling in the moment they made that discovery. I think "BLEACH" could also be one of these much loved works, so I wanted to set it up in a way where each time one would reread the story there would be a new discovery, and then a sense of joy which can only be savoured by those who have reread the story many times over.

Q.27: On the inside cover of volume 27, sensei talked about packaging [of an iPod] and book jackets, but in truth the paperback volumes of "BLEACH" already had a reputation for its exceedingly cool look. Is there an aspect you are particular about in your design and style choices even now? I would like for sensei to comment on attaining strong aesthetic preferences.

Kubo: I like design in itself, so although It's not the case that I'm particularly conscious of it, I'm always picky about it nonetheless. After creating the original format for "BLEACH" paperbacks, I was thinking to use the same one until the very end, therefore you will only find minor changes throughout. So when it came time to publish volume 1, I thought "I want to give it an aesthetic that's different from other comics." This means things like all the front page poems, and drawing the huge volume titles on the front cover. Even though I would buy Jump Comics all the time, I never realised there was volume titles, when I was asked "what would you like to do for the volume title?" by Jump Comics editorial staff, I thought "why doesn't anyone use volume titles in their design?", as a result I decided to use volume titles in my own. —— J: you have a point, it usually only appears in small lettering above the title of the work. Kubo: Exactly. I always think "what a terrible waste." If you don't make use of it design-wise, then contrary to expectations, the presence of the volume title will end up interfering with the cover art won't it? —— J: Even the designers among these questions have reputed "BLEACH" to have an aesthetic that's different from other comics.

Q.28: Within the story of "BLEACH", I believe there was a many number of instances where you depicted members of the cast in a heroic last stand or momentarily on the verge of death, but what are you conscious of within yourself when expressing a character's 'death'? Is there anything you pay extra attention to?

Kubo: It's the timing. It's either something like "this is still not the right place to kill him off" or "it's ideal for this character to be killed off here." It's not a question of luck as far as the characters are concerned, but rather a question of whether or not it goes along with their characteristics. The side that survives is certain to have good fortune after all. I reckon the scene where Ulquiorra fades away also matches his nature. —— J: Is there any character who ended up dead even though you hadn't originally planned to do so? Kubo: Not off the top of my head, I think not. It's the same for the reverse too. Grimmjow is pretty much the only exception. Grimmjow originally lived as long as he did because I didn't come up with his death scene, but I think he would be dead if I had decided as far ahead as that death scene. I would probably be thinking "this way of dying is the coolest!" and because of that, I think I would have killed him off since I want there to be a cool aspect in my depictions. Although my depictions can give the impression that 'this person looks to be on the point of death here', my thinking is "I still want to make this character do so-and-so after this" and I don't let them die. —— J: Izuru was still alive with pipes attached to the hole in his chest after all. Kubo: About that, after thinking "there are gaps in the hole on Izuru's chest, if the moon could be seen through there, that would be super cool!" I really wanted to draw that. When he was revived in a zombie-like state, the staging of the scene where the moon was visible, is to make it appear as if the moon was actually in Izuru's possession. For that alone I put him on the verge of death for a time and then let him survive. —— J: So from a choreography viewpoint, there are times you like to think outside the box for characters that are made to survive. Kubo: Given that I'm fairly passionate about choreography, there's something about it that makes me go like "I want to draw this scene, let's do it!" —— J: By the way on the topic of Izuru, 10 years later is he still alive? Kubo: I suppose he's ‘alive’. Which reminds me, I didn't draw Izuru 10 years later…. He would be too pitiful if he was dead, so I consider him alive (laughs).

Q.29: Compared to when the series first began 15 years ago, what is the thing that underwent the biggest change?

Kubo: The biggest change in terms of the work, is my art style!

Q.30: I was surprised by the fact that two characters appeared on the final volume cover only. On LINELive, voice actor Morita san said "it is a truly fitting illustration for the last volume", I also thought indeed that is true. That the two individuals from the beginning of the story would bring it to a close, is very typical of "BLEACH" I think. What sort of thoughts did Kubo sensei have after drawing Ichigo and Rukia for the final volume cover?

Kubo: The story originally began with these two, so I thought I should try to end it with these two as well. Since I already knew how many volumes the final stages of the series would end with, I began assigning "this character to appear on the cover with this volume…", I could draw characters who were not able to appear on the front cover for a while, such as Uryū and Renji, but I wondered if I could put Ichigo and Rukia together on the final one. Given that it's been a single person per cover the whole time, I then grew to wonder if it would also exude a special feeling if I put the two individuals on the last cover alone. Those two are the faces that represent "BLEACH" after all. "BLEACH" didn't start with just Ichigo, neither did it start with just Rukia.

Translator’s notes:

“The Devil’s Dictionary” by Ambrose Bierce

The "ha" and “sa” columns refer to part of the Japanese syllabary table

Quote from BLEACH volume 27 “I bought an iPod the other day. [...] The best part was the packaging, I couldn’t bring myself to throw away the acrylic case my iPod came in even though i have no use for it. I hope someday I could create a bokk jacket so good that no one can throw it away.” Tite Kubo.

#BLEACH JET #BLEACH #JET ARTBOOK #mytranslationtag #ichigo kurosaki #Rukia Kuchiki #Tite Kubo #interview #Hirako Shinji #Hisagi Shuuhei #Orihime Inoue #tensa zangetsu #Ulquiorra Cifer #Grimmjow Jaegerjaquez #Gremmy #kira izuru #Toshiro Hitsugaya #renji abarai #ishida uryuu

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oosteven-universe · 5 years

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Soulfire vol.8 #2

Soulfire vol.8 #3 Aspen Comics 2019 Written by J.T. Krul Pencilled by Raffaele Forte Inked by Sara Ianniello Coloured by Valentina Taddeo & Jesse Heagy Lettered by Zen Grace is determined to protect magic in all its forms from a world still locked in their technological ways, but she is not outwardly looking for a fight. Minerva, on the other hand, has amassed a strike force from around the globe and is ready to face this strange new danger. And now, she has a target--Rainier’s realm at Devil’s Tower! They weren't kidding this really is the biggest story that they've told yet. The opening here is a great way to look back at the history of the franchise thus far and for new readers it is a boon and for long-time fans it's just a beautiful reminder. Just to look back and see what Malakai has been through as young man and to have survived it none the worse for wear, seriously, just makes me think he is much more impressive. Also to see how far he's come and how much he's grown up, whether he was ready to or not, is a nice thing to see. J.T. Is an incredibly good, strong writer and he understands how a story should be structured. The way he utilises the story & plot development and weaves it with the character development, like a Twizzler or a Red Vine, that is carried along the pacing is so well done. One of the things that I found to be very enjoyable is the dialogue between Mal and P.J.. This to me is how two best friends are not only going to talk to each other but who have each other's back in a way that says the bonds of friendship they have have made them family, brother's if you will so that looking out for each other is as instinctive as it gets. With folks like Defence Minister Cordella who needs friends or more apropos enemies when you've got her. I don't like this woman and I don't think we are supposed to. She is motivated by something that puts her at odds with the situation and that's dangerous plus she's also power hungry another trait that spells potential disaster. Add into that those she has paid to be brought to her side, otherwise some of them wouldn't have the right motivation. I love the interiors that we are seeing here. There is something about the linework that is so classically comics and yet is has this stellar attention to detail while managing to add this manga-ish feel to the book. P.J.'s hair and the wings, and Rainier himself help fuse the genre's together like we saw in Yu Gi Oh. Good grief seeing Abel and all the linework on him is a complete wow factor. The way that we see the composition inside the panels through the perspective, angles and utilisation of backgrounds show this wonderfully talented eye for storytelling. Also I'm madly wild with how we see the inking done and how they finish the linework perfectly. The colour work here is outstanding! From lights of all kinds and the brightness in the hues it just stands out and draws the eye. The way we see the colour work define musculature's is sensation and the colour blocking is utilised effectively and even some colour gradation brings this life. It is nice to see Vanyss again even if she's with Rainier at this point in time. Why Grace is with him though is beyond any true reasoning I can see. I mean let's think about it for a moment, she wants to protect magic, she unleashes magic into the world through Mal as she betrays him, then she runs to Rainier who wants to yield all the magic and rule the world. Saying he's reformed, she is taking him at his word and wants him to change her mind on their past. So that the ending plays out like it does sends my head spinning faster than a kid on a sit-n-spin! This is just a damn fun read.

#comic books #comics reviews #aspen comics #jt krull #raffaele forte #valentina taddeo #sara ianniello

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sparda3g · 6 years

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Kingdom Chapter 573 Review

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It finally happened. The greatest moment of the century has arrived. Hara is a mad genius. He has to be praised as a God for this outstanding chapter. In all seriousness, I may be joking about the greatest moment, but I’m not kidding when I say this chapter is among the best of the year. It’s the culmination of hard works, struggles, challenges, dedications, and to top it all off, to be the hero. The ending truly justified the mean.

The last chapter was really great and a reminder of Kitari’s amazing victory continue to feel satisfying. Hell, looking at Bunen’s corpse is satisfying enough for me; they should just piss at it. She avenged her brother; she should feel proud. All three brothers are killed, so it leaves to one main obstacle: Rozo King. Like Feego King, Danto, would say, it’s easier said than done.

The page with Rozo demolishing a Feego man like a stuff animal is ludicrous. The size of that behemoth is still intimidating, especially when compared to Danto. Speaking of Danto, he did recover and about to resume their bloodbath feud. A showdown between Kings is about to resume; this time, we will get a decisive winner. I do like Danto as a character, but many believe, myself included, that he will die by the hands of Rozo, and that first strike increase that chance at an alarming rate.

It’s the first time witnessing Danto at a losing display, which actually kind of saddens me. He was so badass when he took out Tork, but it’s not the same here. Rozo is clearly the tyrant of the two. He’s a prick as usual, acting all high and mighty by saying that Quanrong is the true ancestors of the West, and there’s only one king: him. His ego is huge as his body. All the more reasons to hope for him to die. It would be amazing if Heki does kill him. Right?

Before a full course of action takes place, we have to know the situation with Yotanwa, and thankfully, Kitari and her tribe is already there to help. Nice detail with Shunmen straps Bajio with him to prevent falling off. These Mountain Tribes are incredible. As brief it is, Kitari and Yotanwa has a nice chat before Calvary arrives. It’s like watching two best female characters interacting and that itself sounds gold.

As always, Yotanwa is a noble leader that truly cares about her people. She doesn’t need Kitari to tell her about Katari, he can already tell by their reactions. She ask for forgiveness for she has cost his life in the process. Kitari shows maturity by reacting politely and not hold any grudge against her. What’s done is done. She can even read Yotanwa’s action based on her men’s condition. It’s short but sweet. She has grown so much. She is keeping her words to protect Yotanwa. All that’s left is Heki.

He is so damn close to Rozo, but Quanrong men is too strong for him to bypass like normal fodders. He can’t afford to waste time because Danto is on a losing battle with Rozo and eventually, he will die. This tells me either Heki will be too late to save Danto or he makes it just in time; I however feel Hara chose the former. While I did say I like Danto, if he were to die, I would be a bit upset but move on quickly. Pretty much like, “Oh no, he’s dead. Oh well.” But, the next part is where I changed my mind.

Danto shockingly has a great speech about the pride of the Mountain Tribes, but not in a form of arrogance or cockiness. It’s seriously heartwarming, and I didn’t think once he was this enlightened. He took Rozo’s words about Quanrong being the truth really hard, so he talks back with his enlightenment. He calls bullshit on Rozo about the king and ancestry, and tells him off what the Mountain Tribes truly are.

The Quanrong remained at Ryouyou, treated like a solitary island for countless years. However, Danto, the Feego Tribe, and all other tribes are out there moving to one battlefield after another. Why? For supremacy over one another. Danto and everyone else has the shared pride to fight and move forward for the sake of their dreams. This is just touching. What’s also touching is he connects the Mountain Tribes’ pride with Qin, because they too know the feeling- of taking on challenges. He has changed my mind.

To top it all off, he mocks the behemoth Rozo about being the king. If he is the king, why does he not lead his men forward; just as Yotanwa has done for hers? Mic drop at its finest. Look at that priceless reaction from Rozo; I couldn’t be any happier. Danto even buries his strikes to be nothing but something he can spit on. The true heavy hit is the will of a man to face the world. That did it. I want him to live and if he dies, I will be very upset. That’s how you make a character incredibly likeable in one setting. From here on out, it becomes one intense battle.

The storytelling isn’t about how fast they can fight, rather how devastating one hit can be. It’s why the battle is grueling and the tension runs deep. I grow scare for Danto to die, since I still maintain my thought that he will die. When he got knocked away, I was shaking up. I was so absorbed by this point, so when Danto hypes up someone, I was like, “Can it be?! Is it?!” Heki finally makes it and swings like everyone’s spirit depends on it. I was marking out like a fan boy; I was cheering high up in the air. God, the next page couldn’t be any more anticipated.

Rozo crushes my dream by knocking Heki out. I was freaking pissed and scared shitless. I thought he was killed. Even so, I was hurt when Heki took that blow seriously bad. That whole page illustrated the impact so well. Heki’s twitching disturbed me. At least he didn’t die, but Rozo knows, so he gets ready to swing for the kill. Danto denies and slashes right on Rozo’s back. It’s the reverse bait! That teamwork!

The clash of the two Glaives was mesmerizing. It could have been either one or both, but their horse takes the fall instead. They both fall off; whoever recovers quick will have the upmost advantage. Danto has one chance to make it happen, but dammit to hell, Rozo got back up and immediately strikes Danto down. He blocks it, but holy shit that was incredibly close. Oddly enough, he grabs Rozo’s Glaive for some reason. Then…the best moment happens.

Danto has been incredible and somehow, he and Heki has a great chemistry to take on Rozo. His last word is a message to Heki and it reads, “It’s your time to be the hero.” Heki pops back up, this time treating his Glaive like the ultimate Spirit Bomb, and takes the greatest swing of his life. The double page of greatness was holding me back to turn the next page. I was begging for him to win; please, let him win. The page is turned and the result is in.

Heki kills Rozo! He did it! He did it!! He did it!!!!

I’m not kidding, this had me out of my seat. I read this at work and my eyes were wide opened. I shouted, “Yes,” like I saw my team win the championship. I knew I can trust on Hara to deliver the greatness and redemption of one and only Heki. He surpassed my expectation honestly. I am so happy to follow this manga. I really am.

What else can I say? It’s the chapter that I have been waiting for. All the hardships pay off and it was very sweet. Kitari showed maturity and developed well as the Chieftain. Danto showed great depth of his character while remaining a badass in front of a tyrant. The action was exhilarating. The presentation was stunning with jarring sequences. Lastly, Heki finally got the huge win that redeemed him and placed him as the hero. What would Yotanwa think of this? I am seriously curious. In due time. Heki, you are truly the most interesting man on Earth.

#kingdom #chapter 573 #review #spoilers

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smokeybrand · 4 years

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Smokey brand Select: Vast and Infinite

10b. Johnny Mnemonic

10a. Virtuosity

9. Tron: Legacy

8. 12 Monkeys

7. Dredd

6. RoboCop

5. The Matrix

4. Alita: Battle Angel

3. Akira

2. Ghost in the Shell

1. Blade Runner 2049

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aion-rsa · 5 years

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The Secret Origin of Superman Smashes the Klan

https://ift.tt/35GYiuk

Superman Smashes the Klan may be set in 1946, but it's incredibly timely today.

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We currently live in a world where powerful bigots “fan the flames of a racial fire” instead of stoke violence with their savage racism. Where everything shy of uttering a racial slur in anger is merely “denounced by some as racist” or “racially charged.” So it’s easy to be concerned, when you hear about a new comic project about Superman taking on the Ku Kux Klan, that the story might be so slathered in euphemism as to be rendered entirely inert, even when it’s written by one of the sharpest minds in comics. So when we had a chance to talk with Gene Luen Yang about his new book, Superman Smashes the Klan, it was one of the first things we asked about. “I feel like we do go at it hard, but I also feel like modern storytelling sensibilities require more nuance than you can get away with in the 1940s,” Yang tells us. “You can't set up cardboard villains anymore. And while I'm not presenting that ideology as a good thing, I do hope that there is a little bit of humanity in the bad guys in our version.”

“Their version” is this new project, with art duo Gurihiru, updating a story from the classic The Adventures of Superman radio show, “Superman vs. the Clan of the Fiery Cross.” The original radio drama, available through Archive.org, was groundbreaking. Everyone knows that it was the Superman radio show that introduced Jimmy Olsen and Perry White and Kryptonite, but this is also the adventure that helped expose the real Klan. Stetson Kennedy was an author and human rights activist who had infiltrated the Klan back in the ‘40s. He worked with Drew Pearson, an NBC radio host, to name names in the Georgia KKK, and he connected with the producer of The Adventures of Superman, pitching the storyline that became “The Clan of the Fiery Cross.”

They included secret information to break the mystique of the Klan, but most of the damage they did with Superman was through ridicule. The “Clan of the Fiery Cross” and its members were garbage. Superman called them garbage. Perry White called them garbage on the front page of the Daily Planet. Even the Klan’s own leader called his membership garbage at the end, mocking the members as rubes while he criticized the show’s villain for taking their racist schtick too seriously, instead of just fleecing the rank and file like he was supposed to. And the wild thing about this fearlessness from one of America’s greatest fictional heroes is that it worked. Klan recruiting actually dipped noticeably in the wake of “Clan of the Fiery Cross” broadcasts.

This was one of the first things that jumped to mind when Yang was meeting with Marie Javins, DC editor and all-time great comics colorist, about new projects. "This is one of the most important Superman stories and it's never been told in his native medium. It's never been told in comics,” he said to her. So he got to tell it.

read more: New DC Universe Timeline Explained

Joining him on the book is Gurihiru. The art duo (Chifuyu Sasaki and Naoko Kawano) have worked with Yang before, on the generally outstanding comic expansions of the Avatar: The Last Airbender universe. Their style is much cleaner and cartoonier than what’s common in superhero books today. One might even say they skew more all-ages in their artwork, but what is “all-ages” as a descriptor of comic art than a way of saying that the art is more in line with the target audience of Superman back when the radio show was on. “Marie and I talked early on about how we wanted the art to look like a blend of manga and those old Fleischer Superman cartoons,” Yang said, “and I feel like Gurihiru has absolutely nailed that.”

Part of their job was to punch up the action. The radio show was a lot of things, but one of the unfortunate descriptors might be “stationary.” Just by virtue of it being a radio program, there was a lot of time spent describing action to the listener, a lot of scenes that took place with dialogue and narration that worked well in radio, but would be a fundamental failure as a comic. “I think we give Superman a little bit more dynamism,” said Yang. “Gurihiru, they're amazing artists. [I] want to give them amazing action to draw.” So the Superman of Superman Smashes the Klan races down power lines, blasts the ground with his heat vision so hard it pushes him into the air, and shatters a wooden baseball bat with his barrel chest, instead of the static “So Superman flew to the river” scene changes of the radio program. “[Gurihiru was] my top choice for this project. As soon as Marie and I began solidifying the details of the project, I mentioned that I wanted to work with them again,” Yang says. “Every time I would get an email from them, whether it was with thumbnails attached, or with inks attached, or with colors attached, I was just astounded.”

read more: Batman/Superman and the Secrets of Evil DC Superheroes

Better action isn’t the only change to the story Yang and Gurihiru introduce. While the comic is set in 1946 just like the radio show, the creators make a couple of tweaks that make this new version really sing. The most significant is how they expand the roles of the Lee women. Dr. Lee is still the new chief bacteriologist at the Metropolis Health Department, living in a new Metropolis neighborhood with the rest of his Chinese-American immigrant family. Tommy is still the new hot starting pitcher for Jimmy Olsen’s Unity House baseball team (displacing Chuck Riggs, who ends up getting roped into the Klan by his uncle). But new to the cast is Tommy’s sister, Roberta, and Roberta and Tommy’s mother sees her role much expanded from just scenery in the radio drama to a pivotal character in the comic. The men are much more the public face of the immigrant experience. They speak English, join baseball teams, and work in local government. By contrast, Roberta gets homesick. Her mom talks about how wonderful Metropolis’ Chinatown is. And it’s through the Lee women that we see our best connection with Superman.

Kal-El has always been a metaphor for the immigrant experience in America, and it’s Roberta who interacts with him the most in the first issue. She’s the one who finds Superman after her brother goes missing at the end of the issue, and she’s the one who tells Clark Kent her mother’s philosophy about new homes. It is the single best Clark Kent moment I’ve ever read in a comic, one that is so perfect I wouldn’t dare to spoil here, but it is simple and elegant in how it draws parallels between Superman’s experience and the Lee’s, and one that lampshades his secret identity as a reporter beautifully. This was no happy accident. “By playing Superman, who is an immigrant, against the daughter of immigrants, I felt like I was really able to bring that out,” Yang told us. “I was able to explore something that I've been wanting to explore since I started working on the character.”

read more: Inside the Return of the Justice Society of America to the DC Universe

And while these changes take an already great Superman story from the radio program and turn it into one of the best Superman comics of recent years, Yang tells us that the frame was always there. “I listened to parts of it with my 12 year old daughter, and I thought that she would be like, ‘Oh, can we please listen to something else?’ But she was really caught up by that story,” he says. “She would ask for the next episode, even when I wasn't ready to listen to it. I'd be still taking notes on the first episode, and she'd be like, ‘Let's listen to the next one.’ So I think the spine of the story, the bones of the story are all there, you know? That's one of the reasons why we just kept all the bones.”

The end result, at least after the first issue, is a book Yang seems destined to have made. Superman Smashes the Klan brings Superman back to his immigrant roots, makes him a source of inspiration for working immigrant Metropolitans; their overwhelmed kids; and the scared but ultimately good kids of the rotten Klan adults as well. But Yang’s also bringing Superman back around - he’s had a go at the character once before. As the New 52 was winding down, DC tried some radical changes to their characters. Batman became Jim Gordon, Wonder Woman stopped being Diana, Robin turned into an Occupy flash mob, and Superman lost his powers and his cape and went back to a t-shirt and jeans. “Early on in that ten issue run on Superman in the Prime Universe, I wanted to explore his immigrant side,” Yang says. “The fact that he's actually from this other culture and, in a lot of ways, he has to navigate between Kryptonian and American culture. I feel like I didn't get to really do that there, and I get to do that now. I get to do that in Superman Smashes the Klan.”

He does it exceptionally well.

Superman Smashes the Klan is on sale now.

Read and download the Den of Geek NYCC 2019 Special Edition Magazine right here!

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Feature Jim Dandy

Oct 16, 2019

Superman

DC Entertainment

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tipsycad147 · 5 years

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The Keeper of Flame – Fox as Spirit Animal or Totem in Animal Magick

Fox, the witty keeper of the flame, the guide of those lost in the dark, is a teacher who challenges one’s adaptability, wit, and responsiveness. Photo: Flickr.

BY RADIANA PIȚ

After the introduction of Totems, familiars, power animals and where to find them, we have looked at the Spirit of the Owl and noted that despite the superstitions, the owl is an extremely powerful totem that provides guidance in the unknown. Another powerful totem that is often a guide in the dark is the Spirit of the Fox. The fox has very often appeared to me as a power animal which is why I enjoy talking about the witty creature quite a lot.

Just like the owl, the fox has a bad reputation sometimes as well. That is because many cultures see its wits tricky and possibly dangerous. However, the fox always uses its wits to adapt to its environment and to be on top of the survival game. That’s at least one of the reasons why “clever as a fox” is such a compliment for those who can find their way out of difficult situations and “outfox” their challengers.

The Fox as Spirit Animal

While the fox is almost always associated with the figure of the trickster, that is not necessarily a bad thing. In fact, the trickster is a figure much needed in one’s intellectual progress and magickal initiation. When a fox appears in this form, it must be acknowledged for what it is – a power that tests your ability to exceed.

But as a spirit animal, the fox rarely appears as a trickster set on pranking and testing. It is often a teacher that guides you in the dark and teaches you how to find your way around obstacles. As a totem, the fox helps you develop your wit and adaptability. Because it helps you increase your awareness and responsiveness, the Spirit of the Fox is an excellent aid in tricky situations.

And because of its affinity with nocturnal activities, the fox is a great guide in the dream world and it can help you evolve as an oneironaut. When the fox appears to you as an animal, spirit animal, or symbol, it may indicate that you need to increase your awareness.

Sometimes they may warn you about a tricky situation or a cunning person in your life. The fox appears to help you see through deception by guiding you on the right path for you especially when you feel tempted to follow a path that does not serve you.

For the Japanese, Kitsune (“fox” in English) is a divine messenger of the god Inari. Kitsune statues are often adorned with red votive bibs, called yodarekake. The color red is associated with the god Inari and worshipers often place these votive bibs on the statues at Inari shrines in order to establish a bond with the god. Photo: Flickr.

Fox Lore

Most cultures associate the fox with wit and adaptability before anything else. In many European tales, the fox is a character who outsmarts humans and other animals even in the trickiest of situations. In early Mesopotamian mythology, the fox was one of the sacred animals of the Sumerian mother goddess, Ninhursag.

In one ancient myth, Enki, the Sumerian god of water, was dying from an illness that none of the gods could heal, except for Ninhursag, who was nowhere to be found. Only her fox knew how to find her and it guided her to Enki, in order to heal him. In Ancient European lore, the fox was a messenger of the old gods of the woods and it was considered a symbol of fertility.

However, in the Middle Ages especially, the fox was associated with the workings of the Devil because of its nocturnal activities. In China, the fox was a shapeshifter that could trick and lure the innocent. It was also a symbol much associated with the afterlife and it was believed that fox sighting was a death omen. The Celts believed that the fox was a guide. Not only did they cherish the fox as a guide in the woods, but also in the spirit world.

Some Native American tribes also considered the fox as a wise messenger or guide, while other tribes considered it a trickster. But no other culture honours the fox more than the Japanese one. People and foxes have lived close together in ancient Japan, which is why they have so many legends about the witty creatures.

Inari shrine at Mt. Takao – Worshipers of the god Inari often leave food offerings for the kitsune, such as rice and sake. They do this hoping that the divine messenger will deliver their prayer or request to god Inari.

The Kitsune (Japanese for “fox”) is believed to possess supernatural abilities that only increase as they age. And according to Yōkai folklore, one of its supernatural abilities is that of shapeshifting into human form. Sometimes, the kitsune uses this ability to trick or test humans, while other times it uses it to become a friend, lover, or even wife – that’s one foxy ability!

Kitsune is also a rain spirit, the messenger of Inari, the kami of foxes, fertility, rice, tea, sake, agriculture, prosperity, success, and one of the main kami of Shinto. This is why the fox is considered a sacred messenger of the Japanese god. The most interesting part of the Kitsune mythos is that the more tails a kitsune has, the older, wiser, and powerful they are.

A kitsune can have up to 9 tails, which is when they become almost a deity and traditionally, they are worshipped as one in that case. And speaking of the Nine-Tailed Kitsune – you know where this is going… Kurama! The Spirit of the Fox was beautifully depicted as the Kyūbi no Yōko, or Kurama as named by the Sage of Six Paths, in Naruto – the popular Japanese manga/anime series.

This Nine-Tailed Demon Fox is the 9th and most powerful of the bijū, the nine-tailed beasts which are great manifestations of unlimited chakra. The depiction is extremely close to the kitsune lore, but what makes the storyline outstanding is that it shows how the Spirit of the Fox works with humans. Despite its amazing power, a power that surpasses that of mere humans, the Spirit of the Fox becomes even greater in serving the human it becomes attached to. And despite its loyalty, it is very much an independent spirit with an interesting set of morals.

Ace of Wands, Shadowscapes Tarot – Foxes, like Wands, are elements of fire that represent personal power, creativity, courage, and adventure. | Photo by Radiana Piț, Instagram @crowhag

Another one of my favourite representations of the Fox Spirit can be found in the Shadowscapes Tarot, which is the tarot deck I use the most in my work. Almost all of the Wands cards in the deck have a representation of the fox in them. And that is because just like wands, foxes are elements of fire, determination, and personal power.

Perhaps the most famous depiction of the fox can be found in Aesop’s Fables, the slave, and storyteller who lived in Ancient Greece. In The Fox and the Crow, both animals become archetypes and the fox proves that wit is a virtue. Ultimately, the spirit of the fox is one of mankind’s oldest friends. A friend that guides, teaches, and when needed, tests one’s ability to help them overcome their limits.

As a spirit animal, the fox is distinguished by the unique bond it has with humans. And perhaps this is also because of its ability to take human form. And on this note, I’ll leave you with the words of the famous fox from Antoine de Saint-Exupéry’s The Little Prince: “To you, I am nothing more than a fox like a hundred thousand other foxes. But if you tame me, then we shall need each other. To me, you will be unique in all the world. To you, I shall be unique in all the world…”

Illustration for “The Fox and the Crow” from Aesop’s Fables. The story is an example of the Fox getting what it wants by using its wits and flattering the naive crow. Photo: Flickr.

www.NettlesGarden.com – The Old Craft

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