#Shueisha Games

[satoshi-mochida]

Urban Myth Dissolution Center launches in February 2025 - Gematsu

Mystery adventure game Urban Myth Dissolution Center will launch for Switch and PC via Steam in February 2025, publisher Shueisha Games and developer Haka Bunko announced. It will support English, Japanese, Korean, Simplified Chinese, Traditional Chinese, French, Italian, German, Spanish, Brazilian Portuguese, Russian, Arabic, and Hindi language options.

“We couldn’t be happier with the reception Urban Myth Dissolution Center received during Gamescom last week, and we’re so honored to be a part of Nintendo‘s Indie World ahead of us bringing the game to PAX West this week, in addition to the newly announced release date,” said Shueisha Games global public relations manager Tomoya Tanaka in a press release. “We encourage everyone to look at the latest trailer in the showcase, and we look forward to meeting new fans in Seattle this weekend!”

Here is an overview of the game, via Shueisha Games:

The game follows protagonist Azami Fukurai, who uses special glasses that allow her to see the supernatural, as she teams up with Ayumu Meguriya, the head of the Urban Myth Dissolution Center, to solve cases involving urban legends. Urban Myth Dissolution Center is a single-player psycho-detective mystery adventure where you will take on the role of Azami Fukurai, tasked with unraveling mysteries as she helps run the day-to-day operation of the titular Dissolution Center. She’s no ordinary rookie, though, possessing the ability to see the memories of places through her glasses. Utilizing her unique gifts and under the supervision of unenthusiastic but capable colleague Jasmine and wheelchair-bound director and psychic Ayumu Meguriya, Azami must navigate cursed relics, dimensional anomalies, and otherworldly creatures in search of answers, delving into the paranormal activity surrounding each case.

Watch a new video below.

Nintendo Direct: August 27, 2024

Japanese

[thegeekiary]

Turn-Based Action Game "Captain Velvet Meteor: The Jump+ Dimensions" Released on PC and XBox

Captain Velvet Meteor: The Jump+ Dimensions (Image: PR/Shueisha Games/Momo-pi) Shueisha Games has launched Captain Velvet Meteor: The Jump+ Dimensions on PC and Xbox Series X/S. The latest turn-based action video game lets you play with a bunch of characters from the Jump+ manga. Continue reading Turn-Based Action Game “Captain Velvet Meteor: The Jump+ Dimensions” Released on PC and XBox

[nightfal1n]

New Kaiju no.8 to be announced in 6/15 after episode 10 of the anime aired

[theruffiansretrorampage]

art by HeroicEffort

[redsnerdden]

This Week In The Nerd Fandom: March 11, 2024

This Week In The Nerd Fandom: Spring Break Edition #DragonBall #AkiraToriyama #Anime #Manga #DemonSlayer #ChainsawMan #MyAdventuresWithSuperman #BLUELOCK #VideoGames

[reikorun]

KlubOutside Q&A 1-100 [Translation]

Translated by @reikorun

Q1.

2021.01.18

Could you tell us if there was any music, for instance, which became the basis for the image of each character in BTW?

A1.

I'll write about it in the set list section at some point.

Q2.

2021.01.18

How can I be a mangaka for Shueisha?

A2.

You can make a submission to Jump-mangasho. All Jump editors can speak English.

Q3.

2021.01.18

Could you give us the details around how you came up with the word "Bankai"?

A3.

Before the serialization of BLEACH, I tried to use the word "卍殺伏龍砲" (Bansatsu-Fukuryuhō) in another manga, I repurposed it from there. 

Q4.

2021.01.18

Right now, what game are you absolutely hooked on? 

A4.

Towards the end of this year, I was playing an absurd amount of Zelda Musou (Hyrule Warriors).

Q5.

2021.01.18

Is there any possibility that unrevealed Zanpakutō or Bankai will be introduced in some form in the future?

A5.

If there is a place where I feel it would be acknowledged by a good deal of readers with a suitable number of pages then I would like to draw them someday.

Q6.

2021.01.18

Are there any comedians that you have been enjoying lately, sensei?

A6.

Tokyo Hoteison and Tontsukatan.

Q7.

2021.01.18

Did Sensei come up with the idea for a fan club himself, or was it proposed by the editorial department?

A7.

This was originally a project that a former editor, who is currently working in the web department, brought forward because he wanted to work with me.

Q8.

2021.01.18

Please tell us your dog's name!

A8.

It's "Uni".

Q9.

2021.01.18

In the anime version of BLEACH, the costume designs of some characters such as Soi Fon, Yoruichi-san and Harribel-sama were different from the original work, what did you think about that?

A9.

Back in those days, there was a rule within Jump that "only works which have finished serialization will be made into late night anime." However, nowadays you can ask them to broadcast it late at night and stay true to the original work. By the way, ALPHAxOMEGA's Harribel figurine is based on the original work.

Q10.

2021.01.18

Regarding Gin, rather than a Kyoto dialect, is that an Osaka dialect with a touch of Kyoto?

A10.

That's correct.

Q11.

2021.01.25

I would like to know what it was that Renji wanted to hear from Urahara-san after turning up in the Human World during the Arrancar Arrival arc, even going so far as to do chores for him!

A11.

"Why did you choose Rukia as the hiding place for the Hōgyoku?" Kisuke told him half truth and half lie, but Renji was satisfied with it.

Q12.

2021.01.25

By some chance, I wonder if Kubo-sensei was actually the originator of Whiskrs STORE? 

A12. 

I am the originator. This is a brand that aims to put out merchandise in which I am involved in everything from conception to completion. 

Q13. 

2021.01.25

Tite Kubo-sensei, when you think about a character, do you also think about colors at the same time? Or, how do you decide the colors?  

A13.

It's pretty much done at the same time. In such cases, the color scheme is determined at the line drawing stage so there is no need to deliberate over how it should look.

Q14.

2021.01.25

What are your favorite sweets?

A14.

Inamura Shozo and Toshi Yoroizuka. I loved their Mont Blanc and mille-feuille but I can no longer find either of those anymore.

Q15.

2021.01.25

Kubo-sensei, could you tell us from your own perspective how to go about creating characters so that readers can empathize with them and find them compelling?

A15.

What's important is whether or not that character has a unique mindset which sets them apart from other characters, so it's not that I think it's necessary to empathize with a character.

Q16.

2021.01.25

Why is the phrase "nandato" (*"what did you say?") used so frequently in BLEACH?

A16.

At the time, there were many works with distinctive catchphrases for characters, so this was an experiment to create a catchphrase for the work rather than the characters, thereby giving the work itself its very own personality. I then put it to work as dialogue that does not compromise the individuality of each character, even when multiple characters are using it.

Q17.

2021.01.25

In BLEACH, "BAD SHIELD UNITED" is brought up as a Human World 'movie' but does Mille really end up dying? Since the speaker is Mizuiro, it's hard to tell whether it's his usual dark humor towards Keigo or if he's serious, I've been curious about that for quite some time. 

A17.

She dies. My first editor from back then (who was also my editor at the time of BSU) also said to me "I'm shocked though…." 

Q18.

2021.01.25

In BURN THE WITCH, there were often color illustrations which were colored digitally, but around what time did you start trying digital coloring? 

A18.

I started from BTW. As far as the order of things go, the Jump cover for chapter 1 is probably the first one that was done digitally. I was nervous until that issue of Jump came out.

Q19.

2021.02.01

Are there any parts of your characters which make you think "this is hard to draw."

A19.

When it comes to parts, large breasts are all difficult. Also, during the week where Szayelaporro's release state came up I complained the whole time whilst drawing it. 

Q20.

2021.02.01

When I was reading "BURN THE WITCH", I very often got the impression that Noel was always positioned on the left and Ninny on the right, but I wonder if there's any significance behind this positional relationship…!?

A20.

In order to generate an impression of the characters with a limited number of pages, I did this as a sort of staging effect in the sense that ‘a character's traits are incorporated in their stance.’ You have a good eye….

Q21.

2021.02.01

I believe each squad was assigned a color, I once tried to identify the location of squad barracks based on those colors. Since there are 4 gates associated with a particular color, I thought of Shōryūmon as Seiryū (east - blue), Shuwaimon as Suzaku (south - red), Hakutōmon as Byakko (west - white), Kokuryōmon as Genbu (north - black).

As I recall, the townscape was circular so I tried to arrange the colors of each squad with the ‘Yellow Emperor’ as the centre and it turned out as follows. I suspect it might be in this circular arrangement: starting from Shōryūmon with 6, 1, 11, 8, then from Shuwaimon with 13, 4, 2, from Hakutōmon with 3, 5, 9, and finally from Kokuryōmon with 7, 10, 12. ×[1]  

Moreover, I'm awfully curious about the actual line up because it is Ichimaru-san from Squad 3 who interrupted the gatekeeper of Hakutōmon, and the three individuals who turned traitor are situated close together. Is there any established blueprint for the placement of squad barracks within Sensei's mind? 

A21.

I can't say for sure without seeing an illustration but judging by what I just read, I think this is very insightful.

Q22.

2021.02.01

Are there any manga, anime, dramas, movies, etc. (other than Kubo-sensei's own works) that as a reader or viewer make you think "this work is amazing!" or "I want you to read/watch that!"?

A22.

My favourite program of the past few years has been Netflix's "The Final Table." It's a cooking competition show, but I think it's the pinnacle of Shōnen manga style cooking battles.

Q23.

2021.02.01

What is your favorite Hiroshima specialty?

A23.

Cream cheese momiji* and plain momiji with chunky sweet red bean paste. (*Momiji manjū are maple leaf shaped sweets.)

Q24.

2021.02.01

I would like to know what kind of work tools you use!

A24.

I don't really have many special tools because I'm not that particular about them … if it's okay, I'll post a photo soon.

Q25.

2021.02.01

I've read in some articles before that the series consists of arcs mainly focused on members of Ichigo's entourage like with Rukia's rescue arc, the Arrancar arc, the Fullbring arc and the Quincy arc. Was this structure something decided upon by Kubo-sensei from the very beginning of the series??

A25.

That's right. I was drawing while wondering if I could continue the series until I reached Uryū.

Q26.

2021.02.01

Izuru-kun's Zanpakutō is Wabisuke and Wabisuke is the name of a type of camellia. Does the theory that the reason why there are multiple scenes within the story where he decapitates his opponent, have its origins in the fact that the camellia is likened to a head and is described as falling?

A26.

That's correct. I thought everyone would take notice about the Wabisuke camellia but at the time it wasn't really picked up on that much.

Q27.

2021.02.01

What is your favourite Pokémon?

A27.

I've never played Pokémon so I haven't the slightest clue.

Q28.

2021.02.08

Does sensei decide the contents, continuity elements and general flow of novelized works like "BLEACH WE DO knot ALWAYS LOVE YOU" and "BLEACH Can't Fear Your Own World"?

A28.

I was the one who passed on the contents and details affecting continuity, I left its portrayal up to the two authors. Whenever they happened upon a part they didn't quit understand along the way, they would also come to consult with me. 

Q29.

2021.02.08

When is the collaboration between sensei and THE BACK HORN?!

A29. 

I'd like to do that with the Thousand-Year Blood War arc.

Q30.

2021.02.08

Please give us details about the iPad you use at work!

A30.

It's a regular iPad with a larger screen. 

Q31.

2021.02.08

Is Kubo-sensei continuing to play "Animal Crossing: New Horizons" without getting bored of it?

A31.

I stopped playing because the UI is too complicated. I'll pick it up again when the UI has improved.

Q32.

2021.02.08

I heard that Kubo-sensei was in charge of the design aspect for the anime original characters Amagai Shūsuke and Kanō Ashido, but was sensei the one who actually designed the anime original characters themselves?

A32.

All characters in the anime originals that are not expressly stated as being designed by me are the product of Kudō-san's taste. I may have done a final design check on the Amagai arc at least, but I didn't touch anything surrounding the Bount arc.

Q33.

2021.02.15

Sensei, do you prefer a girl who shows emotions clearly sort of like Ninny-chan or a girl who is cool-headed and doesn't show much emotion on the surface like Noel-chan?

A33.

I choose my favorite female characters based solely on whether they have big breasts or not, so if it's between these two, it's Noel.

Q34.

2021.02.15

Are there any plans to re-release the color illustration collection “JET”?

A34.

Re-release the art book, I wonder about that… I will try to ask my editor.

Q35.

2021.02.15

Do you play “Dragon Quest Builders”?

A35.

I played a lot of both 1 and 2. I'd like to see a remake of 1 with the technology of 2.

Q36.

2021.02.15

Have you ever felt that the sense of distance and relationships between the characters are different between the anime and the original work?

A36.

Up to around the Soul Society arc of the BLEACH anime, the whole time whilst watching it I kept thinking to myself "if they change things so much, it won't match up with the endgame of the story, but it's out of my hands." I couldn't really understand the characters so I started checking the script around the Arrancar arc.

Q37.

2021.02.15

Does sensei have a favorite designer chair?

A37.

There are many that I like. As for the ones I actually use and like, that includes the Jacobsen Series 7 chair, Eames Sofa by Eames, Magistretti's Maralunga and Maxalto by Citterio.

Q38.

2021.02.22

Chapter 162 of BLEACH (Ichigo's first demonstration of Bankai) is drawn in full color, please give us the inside story around its production during that time (such as how you managed to draw with full color for a weekly series.)

A38. 

I finished the draft in 6 days and I set aside approximately 2 consecutive weeks worth of time before drawing it. 

Q39.

2021.02.22

Sensei, who did you choose as your favorite character on KlubOutside??

A39.

I haven't made a choice yet. When I think about it seriously, I'm honestly having a tough time choosing.

Q40. 

2021.02.22

Which dialect exactly is Shinji's Kansai-ben supposed to be?

A40.

Hirako and Hiyori are both written with a rough sounding Kansai dialect, but I have been told by someone from Kawachi that "Hiyori speaks with an authentic Kawachi dialect."

Q41.

2021.02.22

Are there any plans to make BLEACH a paperback edition?

A41.

I wonder? I haven't heard anything so I guess not. 

※There are no plans at the moment. However, there is a possibility that we will consider it in the future depending on demand. <Editor>

Q42.

2021.02.22

Sensei, I heard that you play Brave Souls, but who is your absolute favorite character to use? Additionally, do you have a favorite character with a Brave Souls original costume?

A42.

The one I use the most is Masaki who is the strongest auto. If you're bad at action like me, you can rely on Masaki. I pull almost all original costumes if they are big breasted, in swimsuits.

Q43.

2021.03.01

What is your favorite flavor of ramen?

A43.

It's chicken broth.

Q44.

2021.03.01

What is the diet of a manga artist like? I sincerely wish you good health sensei!

A44.

It's pretty average. In the past year, the variety of delivery options has increased and has become extremely satisfying.

Q45.

2021.03.01

I'd like to see the design proposal for volume 31 with Szayelaporro on the cover sometime, the one which Kubo-sensei previously mentioned on Twitter...!

A45.

Hasn't this been published anywhere? I'll try and see if I have it at hand.

Q46.

2021.03.01

How are the spellings of characters' names decided?

A46.

On the whole, I try to blend in spellings from as many different regions as possible, so for some characters, I was aiming for that “demarcation where it may just be legible" before making my decision. 

Q47.

2021.03.01

Is Gantenbainne still alive after receiving aid from Captain Unohana in the Arrancar arc?

A47.

He's alive. The "god" he was talking about is Baraggan, so he is gathering Arrancar who still worship Baraggan and building a small nation.

Q48.

2021.03.01

By what age is one able to work towards becoming a manga artist? Past 20, is it indeed too late to start putting yourself forward? I would like to know what Kubo-sensei thinks about the appropriate age for manga artists!!

A48.

I think it doesn't matter how old you are. You don't need anyone's permission to draw manga, so I think it's best to just draw if you want to draw, and stop if you think it doesn't suit you.

Q49.

2021.03.01

Will Whiskrs STORE carry BLEACH goods? I would like BLEACH to come out with merchandise too like those being sold in Whiskrs STORE. I think I'd want to see merchandise which are actually worn by characters or goods that look like they could be sold in Soul Society! Also, it would be helpful if you could add more payment methods…

A49.

I'm also planning to make BLEACH goods, but I've created an inquiry form on Whiskrs, so if you can write "item request" in the header over there and send it to us, I'll consider that too! Also, if you would like to pay using a specific payment method, please contact us.

Q50.

2021.03.08

My question is, are Nemu-chan's hair and clothing Mayuri-sama's hobby? Or does Nemu-chan dress up according to what she likes?

A50.

It's Mayuri's hobby, or rather, Mayuri is the one altering it to match with his own ensemble. Whether or not it suits her is a separate matter. 

Q51.

2021.03.08

Is there any character in BLEACH that you think has become popular, contrary to your expectations?

A51.

I thought Hisagi would never really get popular, so I'm glad that he became fairly popular.

Q52.

2021.03.08

Has there been any change in your favorite characters within your own work between now and the past?

A52.

My favorite characters experience change with every scene I draw, so they're constantly changing.

Q53.

2021.03.08

What is the origin of Rickenbacker's name?

A53.

This is the name of the founder of a guitar company. All Broombuggies are named after people who have passed away.

Q54.

2021.03.08

Do you have a close friendship with Jujutsu Kaisen's Akutami-sensei?

A54.

I had a conversation with him the other day. Right now, I'm using the shampoo Akutami-kun gave me at the time.

Q55.

2021.03.15

With the anime versions of BLEACH and BTW, sensei's characters were given a voice, but to sensei's mind, are there any characters whose voices were a particularly perfect fit?

A55.

Yoruichi is the first one who surprised me, I thought "I didn't expect this character to have this kind of voice!"

Q56.

2021.03.15

Hitsugaya who had been turned into a zombie was changed into Quincy clothes, is this Gigi's hobby?

A56.

It's Gigi's hobby.

Q57. 

2021.03.15

The Quincy have made an appearance in Brave Souls, but how were the voice actors selected? 

A57.

I chose them after listening to recorded voice auditions.

Q58.

2021.03.15

What kind of clothes are your favorite clothes these days?

A58.

Over-sized, whitish sweats. They're comfortable so I want to wear them until the very last moment they're considered trendy.

Q59.

2021.03.15

Does Kubo-sensei play Brave Souls? If so, who is your favorite character?

A59.

I scarcely get a chance to use them, but the visuals for heart attribute swimsuit Nelliel and technique attribute swimsuit Orihime are extremely good.

Q60.

2021.03.22

Are there any manga or movies that influenced you, sensei?

A60.

"SNATCH'" and "300" had a huge influence on me at the time they were screened.

Q61

2021.03.22

I heard that you are also involved in the audition process for the voice actors, but I am curious about what it was like in the early days of the BLEACH anime.

A61.

Ichigo was chosen after I listened to the several audition tapes which had been recorded for him. As for the Human World gang + Rukia and Renji, I listened to the tapes that the team on the other side had selected and got them to change only those who were different from their image. It's about the same level of involvement as in the live-action movie. Any subsequent casting does not involve me.

Q62.

2021.03.22

There are two types of haori for the Captains of the Gotei, but are both options provided when they take up their new posts? 

A62.

At the time of their inauguration, they can choose between sleeved and sleeveless. They can even make modifications during the process, however they may be put off from doing so because it's expensive and this request will not be approved unless you have a very good reason.

Q63.

2021.03.22

When you were still working on your weekly series, were you reading other works in Jump magazine?

A63.

During its serialization, I was pretty much only ever checking for misprints in BLEACH. Between the desire to draw manga and the desire to read manga I only have the capacity to accommodate one, so when I draw I don't feel like reading and when I read I don't feel like drawing.

Q64.

2021.03.22

I have a question regarding the typeface of Rukia's name written on the cover of chapter 266. "Kuchiki" is written in brush strokes, but is there some significance as to why "Rukia" is not written in brush strokes? I'm curious about the covers with names on them since all the names of the other Shinigami are written by brush stroke, whereas part of Rukia's name is the only anomaly.

A64.

It does have a significance, but I might draw it somewhere else so it's a secret for now.

Q65.

2021.03.29

Sensei, is there any aspect in life that makes you think "this is the only thing that is non-negotiable"?

A65.

It has to be "don't let anyone interfere with your work." I'm hardly ever picky about anything else in my actual life.

Q66.

2021.03.29

The more Ichigo has grown, the more he looks like his father Kurosaki Isshin, huh? By the way, will Ichigo inherit Isshin's chest hair? I'm curious.

A66.

I want to believe in the power of Masaki's genes.

Q67.

2021.03.29

Can I safely assume that the description of Squad 1 Vice-Captain Sasakibe Chōjirō Tadaoki's Bankai - Kōkō Gonryō Rikyū - was referring to Tensō Jūrin?

Q67.

That's right.

Q68.

2021.03.29

I was trying to choose a favorite character, but I'm having a difficult time because there are too many charming characters! Please let me have at least three people to root for. Kubo-sensei, can you narrow down your favorite characters to just one in your favorite works?

A68.

Let me narrow it down. Hyoga from Saint Seiya, Nurikabe from GeGeGe no Kitaro and Gorō from Kodoku no Gourmet.

Q69.

2021.03.29

During the time Isshin was Captain, Rangiku was Vice-Captain and Hitsugaya was 3rd seat, but why did Rangiku remain a lieutenant instead of ascending to Captain?

A69.

This is because Hitsugaya is better suited for the position of Captain and also because he had already acquired Bankai. By the way, Hitsugaya had already acquired Bankai by the time he enlisted in the Gotei 13.

Q70.

2021.04.05

Hitsugaya often yells "get to work!" at Rangiku, but what tasks are so demanding that they require the qualities of a Captain class Shinigami? 

A70.

Checks and approvals.

Q71.

2021.04.05

Noel-chan had a guy lick some kind of device when checking to see whether or not he had come into contact with a dragon, but does she have to replace it each time it's used? Or does she use the same one the whole time?

A71.

It is returned and magically cleaned with every use.

Q72.

2021.04.05

As explained with 90s level Kidō which appears in BLEACH, the higher the number, the stronger the spell becomes, but is it the same with spells like Blue Spark which are cast in BURN THE WITCH.

A72.

It's different. The Magic numbers from BTW have simple rules and are assigned in accordance with them.

Q73.

2021.04.05

Out of Rangiku, Orihime, Yoruichi-san, Harribel-sama, Unohana-san, Isane, Nelliel and Noel-chan, who has the largest chest?

A73. 

I think I'm probably drawing Nelliel with the mental image of her being the most voluptuous.

Q74.

2021.04.05

I would like a tour of sensei's workshop!! Is that allowed!?!? 

A74.

I had never considered it. I don't mind doing this if the time and situation allows it, but we'll see.

Q75.

2021.04.12

Please tell us about any changes in the vow Chad made concerning his fists. After he swore to his Abuelo that he would never swing his fists for himself, Chad did not retaliate by raising his fists for his own sake, not even during a fight where he was being beaten. 

Then he met Ichigo and they both made this pact: "you won't have to hit anyone on your own account anymore, but in return you have to hit people to help me. I'll fight for you and you'll fight for me. If there's something you want to protect with your life, I'll stake my life to protect it too." 

From then on, he fought for Ichigo with his fists and grew stronger to protect his friends. However, in the final chapter there is a scene where Chad has become a boxer and is aiming to become champion. Why did Chad, who up until now had vowed not to swing his fists for himself, end up using his fists in a boxing match in order to become champion in the final chapter? Was there some sort of shift in his feelings that made him think that he's ready to use his fists for himself now, or is it that someone has emerged whom he wishes to protect by becoming a champion boxer?

A75.

Nothing has changed. Chad considers boxing a martial art, not violence.

Q76.

2021.04.12

Sensei, if you were to become Captain and Vice-Captain, which divisions would you prefer to be in for each?

A76.

It seems like a heavy responsibility so I don't want it.

Q77.

2021.04.12

I joined a fan club for the first time in my life. Have you ever been a member of anyone's fan club, sensei?

A77. 

It's my first time too. I am currently undergoing the unique experience of joining a fan club for the first time in my life as a member of my own fan club.

Q78.

2021.04.12

I would like to learn about Tite Kubo-sensei's family composition.

A78.

What kind of scammer-like question is this?

Q79.

2021.04.12

I'd like to know sensei's usual breakfast menu.

A79.

Aojiru, Amazake and yogurt. (*Aojiru - a green, vegetable juice made from kale. Amazake - sweet drink made from fermented rice​.)

Q80.

2021.04.12

I was curious about the origins of the names of Quincy: Vollständig (Tatarforas, Hasshein, etc.) so I tried to do some research but I couldn't figure it out at all. Could they be words coined by you, sensei?

A80.

It's not so much a coined word, but rather a regular name …. I give them a name that sounds angelic and doesn't seem to have any apparent origin even if you try to look it up.

Q81.

2021.04.19

Do you prefer raw eggs or boiled eggs?

A81.

I prefer raw.

Q82.

2021.04.19

If you were to go out for a drink one-on-one, who would you go with? Personally, I'd like to go with Ikkaku.

A82.

I don't drink so I wouldn't want to go out with anyone. As long as I don't have to drink, anyone with big breasts will be fine.

Q83.

2021.04.19

Who does Kubo-sensei admire?

A83.

It's not that it's a specific person or something, but I quite admire gag manga artists.

Q84.

2021.04.19

Kubo-sensei, what app do you use when drawing illustrations on your iPad?

A84.

It's Clip Studio Paint. I really want to use Procreate (because Tada Yumi-san is using it), but Procreate is complicated.

Q85.

2021.04.19

Kubo-sensei, please tell us what you value when composing your character designs.

A85.

Place great value on first impressions and also don't be bound by it.

Q86.

2021.04.26

Sensei, did you study calligraphy? I love your drawings of course, but I also love your penmanship!!

A86.

This question reminded me that my grandmother was a calligraphy tutor. But I haven't formally studied it.

Q87.

2021.04.26

I absolutely adore the female characters you draw sensei, but do you find it challenging to draw female characters?

A87.

It's the same. People often say that female characters are difficult because they don't understand women's feelings, but it's the same even for men because people struggle to comprehend the feelings of others.

Q88.

2021.04.26

Please tell us about a movie you saw recently that you found interesting, sensei.

A88.

I watched The Equalizer the other day for the first time in a while, but it's still interesting no matter how many times I watch both 1 and 2.

Q89.

2021.04.26

At the end of the "D-TecnoLife" anime OP, Chad, Inoue, Ichigo, Ganju, Hanatarō and Ishida appear in that order, but I wonder if Ganju's bandana is white because they forgot to apply color?

A89.

This is because the character color check isn't coming to me.

Q90.

2021.04.26

In the Thousand Year Blood War arc, it was stated that no citizen of Rukongai beyond district 50 had been observed wearing sandals for over 500 years, yet as a child Rangiku was wearing a somewhat stylish pair of sandals. Did Gin provide her with those?

A90.

After meeting, Gin and Rangiku gradually moved to the safer inner districts of Rukongai. Gin's zōri sandals and Rangiku's setta sandals, which appear in the second half of the flashback, are items which each of them picked up along the way.

Q91.

2021.05.03

Is there any particular reason why Harribel and Stark are not using their first names in typical Arrancar fashion?

A91.

There is no concept of first name, middle name or last name to Arrancar. 

Q92.

2021.05.03

Please tell us the reason why Kurotsuchi Mayuri started wearing headgear. Additionally, please tell us about his reason for changing that headgear.

A92.

It's his hobby.

Q93.

2021.05.03

What is sensei's favorite manga?

A93.

When I'm feeling down, I always read "Kodoku no Gourmet."

Q94.

2021.05.03

In Bleach, Zanpakutō which possess fire abilities appear within the story, but who is a character that sensei is reminded of when it comes to fire?

A94.

Wanyūdō (from GeGeGe no Kitaro​.)

Q95.

2021.05.03

Do you still read Jump?

A95.

I read it and express my thoughts chaotically to those close to me. My editor also sometimes wants to hear my thoughts.

Q96.

2021.05.03

Is it a coincidence that BTW's release date falls on a full moon in Aries according to western astrology?

A96.

Really!? That is a coincidence.

Q97.

2021.05.10

Yadōmaru Lisa sometimes appears to speak with a Kansai-like dialect and sometimes she doesn't, what dialect exactly does Lisa speak with?

A97.

It's Gifu dialect which is closer to dialects from Aichi. 

Q98.

2021.05.10

About the unfilled drafts and such that are in the Gallery on KlubOutside, how did those come to be preserved?

A98.

Upon completion of the inking stage, I would make a copy and write instructions on it, and when I was done with the draft I would normally throw it away. However, my parents back home told me "send it to us instead of throwing it out", so I sent it to them.

Q99.

2021.05.10

The characters that appear in Kubo-sensei's works are all highly unique in appearance and personality, and I'm always deeply moved by them. Please let us know if there is anything you keep in mind at all times when designing characters!

A99.

I make an effort to try and avoid similar faces or personalities.

Q100.

2021.05.10

Is there any possibility that the BLEACH anime will be released to the world in the form of a full remake? I think that with current technology, it would be possible to depict the world-building more beautifully.

A100.

There are no such plans but I'd like to make that happen.

Translation footnotes:

×1. In Japan, Seiryū, Suzaku, Byakko and Genbu are four mythological creatures known as 'The Four Gods' originally from Chinese mythology. They represent a particular color and cardinal direction. There is also one more divine beast, a yellow dragon (aka the Yellow Emperor) - god to the center. 

[nejis-desk]

Jack Jeanne Complete Collection - Interview with Ishida Sui and Towada Shin Translation

This interview is from the Jack Jeanne Complete Collection art book, it’s available on CDJapan and Amazon jp. You can also purchase a digital only version on bookwalker jp. I encourage anyone reading to purchase the game (if you haven't already) or the art book itself to support Ishida and Towada directly. 💕

This is a VERY long interview so I apologise for any typos or errors I may have missed.

~ ~ ~

An interview with Ishida Sui and Towada Shin, who both worked on writing the story of Jack Jeanne. In this interview they reveal what went on behind the scenes during production, rejected story ideas and much more. This interview was conducted remotely on the 9th of February 2021.

Interviewer: Yui Kashima

How did Ishida Sui end up making an otome game?

—How did the production of Jack Jeanne begin?

Ishida: It was sometime around Autumn 2015 I think… On an old personal site that I used to run, I received an email from the company Broccoli to an email address that I no longer use. It was a commission request for character designs.

—In 2015 Tokyo Ghoul was still being serialised wasn’t it?

Ishida: Yes. Usually job offers like that go through Shueisha first, so I contacted my editor asking why this one was sent to my private email…  At the time, in addition to working on Tokyo Ghoul, I was also drawing illustrations for a tear-off calendar and very busy with various other things, so when my editorial department heard about the offer they seemed very shocked like "What!?".

—Why did you decide to accept the offer even though you were so busy?

Ishida: I would often receive offers asking for me to draw manga or illustrations, so I figured that this one was a similar case. However, some words in the email caught my eye. Like ‘Gender Swap’, ‘Takarazuka’ and ‘All Boys Opera'. When I saw these concept ideas, a dream began to swell in my chest and I felt like giving it a try.

I think if it had just been a normal character design job, I would have turned it down. However just from reading the short brief in the email my interest was piqued. While in discussions with the Young Jump editorial department, I also casually mentioned the kind of offer I’d received to Towada-san.

Towada: Yeah, Ishida-san asked me for some advice. I was also drawn to the ‘Gender Swap’ and ‘Opera’ concepts. I could easily visualise the setting of the story. Additionally, it seemed like it would be a story that included many different themes such as gender. When I thought about that, I figured that Ishida-san would be a good fit, since I knew he would be able to draw something that went beyond all genders.

Ishida: I’ve been drawing androgynous characters for a long time, so Towada-san and I talked and wondered if that's what they must be looking for. After that, I created my own proposal and submitted it to Broccoli.

—You created your own proposal, Ishida-san?

Ishida: When I looked at the original proposal that Broccoli had sent me, a lot of it differed from my personal tastes. It was a very upbeat and dazzling story. It would’ve been hard for me to match my art style to that, so in my proposal I noted things like ‘if it were me, I’d do something more like this’. I was interested in this unpolished gem of a story, so I thought it would be a waste to turn it down altogether. I wanted to at least try throwing my own ideas into the ring, so I spent a week creating the six main characters and sent them in.

—At that time, I heard that the game wasn’t titled ‘Jack Jeanne’ yet, but was instead called ‘Jiemarie’.

Ishida: At first, I wanted to try creating a word that doesn’t exist. So using French as a base, I came up with ‘Jiemarie’ as the game's provisional title. But then a month later when I was reconsidering the title, I looked at it again and thought, damn this looks lame. So I hurriedly called Towada-san on Skype and we entered a discussion that lasted about ten hours over what the title should be.

That’s when we decided on ‘Jack Jeanne’. The male roles take the name from the knight, or the ‘Jack’ in a deck of playing cards. And the female roles ‘Jeanne’ take from the word parisienne and Jeanne d’Arc. When these two terms are put together, I feel like you can comprehend what the game is about with a bit of nuance. Plus you can shorten it to ‘JJ’… That’s also the title of a magazine though (lol).

—Taking on another job whilst your manga was being serialised sounds like it would be tough on you both physically and mentally.

Ishida: I think I must’ve been a bit unwell (lol). My body was fine, but being able to work on something other than a serialised manga was a lot easier on me mentally. I may have seen it as a way to escape, so I didn’t feel that working on two projects at the same time was difficult. When it comes to game development, I can only create what I’m capable of, and there was no set release date yet. Of course, I would work on and submit things whenever I could though.

—What kind of things would you submit?

Ishida: I would sketch character designs, discuss and create story elements with Towada-san and try to put Univeils history into chronological order. Then I would share the progress with Broccoli and have meetings and such with them. In the beginning, rather than having to draw anything yet, it was mostly just brainstorming and planning. That’s why I think I was able to do it all concurrently with the serialisation of my manga. 

~ ~ ~

How Ishida Sui and Towada Shin know each other

—Do you chat with Towada-san often?

Ishida: Well yeah, she is my older sister after all.

Towada: We talk a lot. When we both have the time we chat over Skype.

Ishida: Once we start the conversation can last up to five or six hours. We mostly talk about things that happened throughout our day. When I’m talking to someone I often bring up something that’s happened to me and ask their opinion on it. She became someone that I could chat with whilst working on my manga. Ever since my student days we’d talk until early morning, I usually told her about storyboards I’d drawn.

—At the Ishida Sui exhibition it was revealed that Towada-san had even given you advice on some of your earliest works.

Ishida: Yeah that’s right. It was a work I’d prepared for a 'bring your own work along' induction course in Tokyo that I attended back in my student days. It was a manga about two characters who eventually became the prototypes for Tsukiyama and Hori Chie in Tokyo Ghoul. It was only about 30 pages long, however when I showed it to Towada-san the day before the presentation, she told me that she thought my linework was too thin.

Towada: Yeah, the overall linework of the manga was thinly drawn. Once I told Ishida-san this thought, he began tracing over his linework and making it thicker. And then when he looked at it again, he said “Yep, I need to redraw the whole thing”.

The linework being too thin was only my personal opinion and the presentation was in Tokyo the next day, so in horror, I began hastily telling him, “You won’t make it in time, stop, stop!”

Ishida: All I could think about was that the lines really were too thin, so I wanted to redraw it. All of the screentones had already been affixed to the panels, but I didn’t want to bring something along with me whilst knowing it wasn’t the best that it could be.

Towada: Ishida-san handled the linework and I helped with redoing the screentones. We worked throughout the night and finished redrawing the whole manuscript. Once it was done, it wasn’t even comparable to the previous version, the lines were powerful and the characters' expressions conveyed a lot. I was seriously worried though (lol), I didn’t know if we’d complete it in time.

Ishida: I couldn’t think about anything other than the lines being too thin, so I wasn’t even worried about whether I had enough time or not.

Towada: I fell asleep halfway through, but you continued and boarded that Tokyo bound flight without having slept a wink, didn’t you?

Ishida: Yeah. I let Towada-san sleep and continued applying the screentones myself right up until the very last minute. I was still applying them whilst on the plane and also after my arrival in Tokyo. I used screentone number 10 a lot, so I remember the scenery around me gradually began to look grainy like the screentone. It felt as though I was hallucinating.

—Sounds like it was a tough manuscript to complete. Towada-san was also the author for the Tokyo Ghoul novels, has your relationship always been one akin to work partners?

Ishida: When it was decided that Tokyo Ghoul would be getting a novelisation, I was given other authors' works to look at. However, none of their styles really clicked with me, and they didn’t seem right for the series. I knew that Towada-san wrote, so I tried reaching out to her.

Although back in the days of Tokyo Ghoul’s serialisation, Towada-san and I didn’t talk as much as we do now. If I had any concerns I would just try and sort them out by myself. We’d always gotten along as brother and sister, however we didn’t really start to have a ‘work partners’ kind of relationship until we started working on Jack Jeanne together.

Towada: That’s true. Back then, we only occasionally conversed regarding the novelisation of Tokyo Ghoul. Before :re we only spoke once every few months over Skype. As Ishida-san said, it wasn’t until I started working on Jack Jeanne that we really started properly talking to one another.

—How often would you contact each other?

Towada: Depending on what stage we were at, we would bounce ideas off each other once every three or so days. Ishida-san would make a request like “I’d be happy if this part of the script was done within the next two weeks.” And then I’d present what I’d written and we’d discuss it and then I’d return to writing again. This process was repeated until Jack Jeanne reached its completion.

—Was Ishida-san the one that reached out to Towada-san to write the script of Jack Janne?

Towada: He didn’t ask me specifically to write the script, early in development he’d ask me to help with some research like “I’d like you to look up some information on this, could you help me?”. I’ve always liked ikusei games and within that genre I also enjoy romance and otome games. So I think that’s why it was easy for Ishida-san to consult me about it. We’ve had a common interest in games ever since we were kids.

Ishida: Back then I played games like ‘Pinnochia no Miru Yume’ and ‘Angelique’. I wanted to try and conquer Marcel in Angelique but it was one difficult game, so it was a tough task. Before I could even raise any flags with him, the training aspect of the game was so hard that no matter how many times I played I never got any good at it.

Towada: I’m the type that loves playing games, so after talking with Ishida-san, I went on to play every popular otome game that had been released around 2015, as well as every Broccoli published otoge. I completed every single character route in those games. I began analysing otome game trends and Broccoli’s brand identity and relayed my findings to Ishida-san. After that, I went along with the Jack Jeanne production team and Makasano Chuuji-san from Shueisha, who was the scriptwriter of the Tokyo Ghoul anime. We all visited the city of Takarazuka for research.

Ishida: I was also supposed to be there for the Takarazuka trip but since I had my manga to worry about, I had Towada-san go and take in the atmosphere in my place.

Towada: I did have to gather material but I think I visited Takarazuka a total of five or six times. From morning I would watch the Takarazuka theatre from afar and simply watch the guests move about, soaking in the atmosphere of the city.

Along with the Takarazuka plays, I also watched student plays, in total I probably went and watched one hundred shows. Theatre shows that are performed by professionals are fully realised and flawless. So getting to see the contrast to student plays, where they progress and improve until the show is complete was a very helpful reference.

I’ve always enjoyed watching plays, so everything I had to research overlapped with my own hobbies. I still shared my own input with Ishida-san though.

Ishida: I’d never formally been asked to write a script before… I felt like a fraud (lol). I think it’s because I’m not very good at being considerate of other people. I don’t think I’d be able to work with anyone other than Towada-san on something.

—Why is that?

Ishida: Well, for one I don’t want to talk to anyone for long periods of time (lol). Because Towada-san understands what aspects of a story are important to me, she’s also able to comprehend what I mean when I talk in abstract concepts. We could save time by not needing to have any pointless discussions.

Towada: Back then Ishida-san was still very busy publishing his manga, so bringing in all sorts of new people to work on the project probably would’ve put quite the burden on him. That’s why I wanted to help him out in some way.

After researching all sorts of things, I ended up participating in a production meeting for Jack Jeanne, but I was not expecting that I myself would end up being in charge of writing the script. Rather, I was more just looking forward to getting to play a game made by Ishida-san. As things progressed though, I was asked to try plotting things out, or to write part of the script to be used temporarily. Eventually I came to think, why don’t I just write the scenario myself?

I’d never written the script for a game before though, so that’s what had been holding me back. Unlike novels, it’s commonplace to not have to write descriptively. Novels are made up of dialogue and descriptions, like describing the setting and characters' expressions or emotions. So I had to spend a lot of time working out how to write to properly convey a story through dialogue alone.

When I first started getting the hang of it, I tried writing a script that still included descriptions but I quickly stopped. Jack Jeanne is about theatre, so I figured that it would be easier to convey the presence and narrative of the story through conversation. I usually write novels, so I was uncertain, but since Jack Jeanne has sprites of the characters on screen, I thought that I could do it. I suppose it’s closer to writing for a manga rather than a novel.

~ ~ ~

The rejected character routes

—Before Tokyo Ghoul was completed, what kind of things did you work on?

Ishida: The first two years were mostly spent creating the game’s world and mechanics. Like deciding how many performances there would be, how the plays would be presented. Would it be a dialogue drama? Would there be mini games? Things like that. We also had to decide whether summer break would be included or not, how raising affection would work and how the choices would be presented. Those are the sort of things that were talked about first.

—You got to watch over the entire game’s development then.

Ishida: At first, I got carried away and envisioned a stage play game full of skill mechanics that I personally enjoyed. A busy game full of specs you can raise and improve in mini games, however when I explained these details to a friend of mine, they were like “You’re just imagining a game that you would like, right?”.

They asked me if that’s what the eventual players of Jack Jeanne would be looking for. That same friend said that since it’s a story that deals with the theme of theatre, it would be better if the player could witness the performances themselves. So I took that advice and the prototype of the current Jack Jeanne was created. I told all of this to Towada-san and had her handle the script.

Towada: You can’t write a script without knowing how the game’s system works after all.

Ishida: Now that I think about it, before Tokyo Ghoul was finished, rather than build the game's foundation, all I was really doing was scattering the sand to prepare for said foundation.

When Tokyo Ghoul entered its endgame especially, I really had to concentrate on it, so I took a six month break from Jack Jeanne. Ending a story requires a lot of energy and attention, so I left the practical work of Jack Jeanne to Towada-san and only supervised the music production and attended any important meetings.

—So during serialisation you were making preparations to jump right into it afterwards?

Ishida: Yes exactly. I wasn’t able to do much practical work, so I had Towada-san prepare the script in advance for me. And for the time being, create one character route.

—Which character was it?

Towada: It was Shirota. I wrote about the equivalent length of a short book and it was more or less complete. In the end, we scrapped the entire thing though… Because the atmosphere in the beginning was quite dark.

Ishida: It was dark because I was too used to Tokyo Ghoul. It included issues like a troubled household and severe bullying. Reading something like that wouldn’t put the player in a happy mood.

Despite it being a story about the theatre, my attention drifted to other topics which didn’t fit. And it was me who had asked Towada-san to write something like that… A couple months after the Shirota route had been completed, I read over what Towada-san had written for me once again and realised that it was a bit too gloomy. I’d forgotten what prompt I’d even given to her in the first place (lol).

The first character portraits and CGs that I created were for Shirota too. The reason being that Shirota is the only second year student and he was already a complete individual, so he was easy to create for. As for the third year students, there’s three of them, Fumi, Kai and Neji. Along with Kisa, Suzu and Yonoga are also first years, so continuity and character relationships need to be taken into account in order to create them, so they were a little more complex.

—How did the other characters come to be?

Ishida: At the proposal stage, the first character that I created was Kai. It’s a game where characters will be falling in love and confessing to one another, so first off I wanted a character that was handsome. Then I made Fumi who would be Kai’s partner. After that, I think Shirota was next.

Towada: At first you created the characters by basing them on plays didn’t you?

Ishida: I’m a fan of Yamamoto Shugoro’s work ‘Kikuchiyosho’ so Shirota was created using that as a base. In Shirota's case the genders are swapped, but Kikuchiyosho is a story about a girl who is born into a samurai family and raised as a boy. It has an element of androgyny and portrays the confusion and anger concerning gender quite well.

—How did you select the plays to base the characters on?

Ishida: I chose plays that lots of people are familiar with and would be easy to assign characters to. Kai is ‘The Phantom of the Opera’, Fumi is ‘Salome’, Neji is ‘Faust’ and Yonoga is ‘Shintokumaru’. Kisa and her classmate Ootori are ‘Don Quixote’. Ootori ended up becoming a side character though.

—So Ootori was originally meant to be a main character?

Ishida: Yeah. If I were to compare it to Tokyo Ghoul, Ootori is in the same position as Tsukiyama. I wanted a pompous character like that in Quartz. However I may have made him a little too unique (lol).

I received feedback from Broccoli that they want the main six characters to be an elite group, so a more easy to approach character would be better. So I moved the bright and cheerful character that I had originally made as Onyx’s Jack Ace over. That character was Suzu.

Making the characters personifications of plays started to become difficult to stick with though, so I abandoned the idea entirely halfway through.

—Despite appearing glamorous, the characters are all dealing with their own issues, like certain complexes and family troubles. I think that they’re all conflicts that are easy to sympathise with, how did you decide what the backbone of each character's conflict would be?

Ishida: First I created the character's appearance and then decided what personality would match them. Like with Fumi, when I began to think about making his story about the unique struggles that come with being born into a respected family, if becoming a successor was going to come into question, then he needed to have a brother.

In this way, I worked backwards from the vibe of his appearance and created his home life. I did the same with the other characters too, thinking things like ‘to have a personality like this they must not have parents, or they must struggle with expressing themselves’.

I think that if you let your characters do human-like things, then aspects of them that are easy to sympathise with will be born.

Jealousy, setbacks due to failure, inferiority complexes… Each and every character naturally ended up having some form of theme attached to them.

—I feel as though Kisa had a different sort of personality than that of a typical heroine.

Ishida: To put it simply, I want my protagonists to be fighting something. If they’re not giving it their all, then it’s no good. If they’re just standing around, then you can’t empathise with them.

—There’s times where she draws others towards her or supports those around her. She also has some masculine aspects to her.

Ishida: I think that I’m moved by characters who make me think “This kid’s really admirable”. That’s why I made Kisa a girl who works hard no matter the difficult situation that she’s in. I like Kisa and I’m sure Towada-san feels the same way.

Towada: She’s the result of both of our preferences. While due to the game’s setting, she of course has struggles related to being a girl, but I was careful to write the main thread of her story in a way that transcended gender and instead simply showed her charm as a human being.

—Regarding gender, I was impressed by how neutrally it was portrayed.

Ishida: Yes. Originally, I was going to make Shirota a character with a feminine personality, but I ended up scrapping the idea. In the end, he ended up having more of a masculine mentality. The premise of Jack Jeanne is that boys also play the female roles on stage, but it’s not a metaphor for anything and I didn’t want it to raise any questions. I simply wanted to give it my all creating plays with that setting and create something new and refreshing.

I don’t struggle with any gender related issues myself, so it’s not like I can fully understand what it’s like, but in general I’ve never considered gender to be a very big deal. If someone born male were to tell me “I have the heart of a woman” then I’d just think ‘ok cool’.

To me it feels strange to place so much weight on such an issue. I don't see why others need to be bothered by someone else's gender, I'm not since I myself am not able to speak for such experiences.

Towada: At first, it was possible to take that direction with Shirota but as I continued to write, I came to realise that there was no need to exaggerate any emphasis on his gender identity.

To those looking from an outside perspective, it may seem like a unique identity such as that is a person's defining trait, when in reality it's only just a portion of their whole self. If you consider it to be all they are, then you end up denying the other aspects of that person.

Whilst considering the individually of each character, I kept in mind to write them in a way that seemed natural for them.

—The side character, Tanakamigi Chui of Amber, had a very striking presence. How did you go about creating him?

Ishida: I wanted someone that’s easily understood to be the antagonist, so I went ahead and tried to draw someone who looked like an unstoppable genius. Despite being a second year, it’s as if he controls the school. I wanted an enigmatic and intriguing character like that. Once I named him Tanakamigi Chui I felt as though he was complete and his inclusion in the story was quickly decided on.

—On the flip side, were there any characters that you had a hard time creating?

Ishida: I had to think a little harder about the other members of Amber. They needed to have the aura of the enemy but since they’re only villains in the context of the stage, they’re not actually bad people. So it was hard to find that balance between them.

Visually they’re edgy and have a talented vibe, but they also have their own individual quirks, they’re not all homogeneous. I struggled with Kamiya Utsuri especially, I wanted him to visually look like he could be a Jeanne while also still looking like a boy, so it was difficult to get him right. I didn’t have to do many redesigns though and all the other characters came to be without much trouble.

What I actually had more trouble with, was the fact I made the cast too large. I initially created almost double the amount of first year characters, but when I looked back over the script that Towada-san created, I told her “There’s way too many characters, please cut some of them out.” To which Towada-san replied, “Ishida-san, you’re the one who created them in the first place.” (lol).

Towada: That’s because the cut characters had already appeared in the script (lol).

Ishida: I feel that when there’s too many characters a lot of them get wasted, so just like that I end up creating and scrapping a lot of my characters. I think even Broccoli were surprised by the amount of times I’d suddenly tell them “Oh that character doesn’t exist anymore.”

—Apart from characters, were there any other aspects of the game that were abruptly discarded?

Ishida: The performances I suppose… Originally I had wanted there to be a larger variety of shows, but if you were to put all of them in the script it probably would’ve ended up being three million characters long.

In the beginning of development, I had originally planned for each character's route to have a different final performance. There’s six main characters, and including Kisa’s route, that would total to seven unique shows.

Before that there’s the newcomers, summer, autumn and winter performances, so I arranged to have a script written for each. Basically I wanted to include more shows and increase the amount of sub stories, but that would be confusing to play through and development would never end. The game engine has its limits too, so I decided to keep it simple.

Towada: It would’ve been difficult to play through all that as well (lol). For the final performance, we settled on it being one show and letting the player enjoy it from each character’s perspective instead. And even then, there’s still over 20 different endings to the game, so it still took a long time until everything was fully complete.

—Newcomers, summer, autumn, winter and the final performance, were these five show’s scripts all original?

Towada: Yes. However at first, like the characters, we had planned to base them on famous productions. Like Shakespeare or fairy tales. We figured that players would find it easy to get immersed in plays that they were already familiar with.

Ishida: For the newcomers' performance, I thought we could have a show called ‘House of Biscuits and Candy’ based on Hansel and Gretel. I had also originally planned to use each character's motif to base the plays on.

Towada: Like Shintokumaru, right?

Ishida: Yeah yeah. I even went as far as getting permission to use it, but if the show were to be following a story that already exists, then the script would be bound to it. Once I understood that it would make it difficult to relate the stories to Univeil, we decided to create the plays ourselves.

Since I acquired the permission to adapt Shintokumaru though, maybe I’ll have to make a manga about it someday…

By the way, the one who was saying “Let’s do this” and then changing it to “Nevermind let’s not” was all me. I’ll start on something wholeheartedly thinking that it’s the right choice before realising halfway through that I can’t actually take it anywhere and stop. Jack Jeanne’s development was full of trial and error.

Whenever I’m about to start something, Towada-san will express her concerns with my ideas but I always end up pushing on with them only to ultimately scrap it.

I probably have at least ten books worth of scrapped drafts alone. I had no real knowledge of how to properly craft a story. I hadn’t drawn anything other than Tokyo Ghoul, so even though I had no idea what the fundamentals of storytelling were, I misunderstood that I could write other kinds of stories too. This time around I studied and revised each time… I really learnt a lot.

Towada: You learn things by doing them, so I think I just got used to it (lol). Also, you don’t commonly see stories presented within stories, I thought that it was a rare case for a game especially.

~ ~ ~

The story behind ‘Lyrics: Ishida Sui’

—You also wrote the lyrics for each of the songs used in the performances didn’t you, Ishida-san?

Ishida: Yes, that’s how things ended up. It goes without saying, but no one, including myself, thought that I’d be the one writing the lyrics.

Originally Broccoli brought in several professional lyricists and had me look over what they’d written. However I couldn’t help but feel that they were lyrics I’d heard somewhere before, or they at least didn’t leave a unique impression on me. I did feel the finesse of a professional, and they were beautiful lyrics that fit the story in one way or another… But the words used didn’t touch on the core of the story. 

The songs in Jack Jeanne are stage songs that Neji wrote for the members of Quartz. So unless you’re familiar with the setting and understand how the characters are feeling, then you won’t be able to write lyrics that perfectly fit the scenario.

While I knew that my lyric writing technique would be far from that of a professionals, I thought that no one understands and loves these characters more than me, so I approached Broccoli about it. I’d poured my heart into not only the character designs, but also the story and system of the game, so I didn’t want to compromise on the lyrics and have them pale in comparison.

So, to the best of my ability, I wanted to at least try my hand at writing them. I had Broccoli check whether or not what I’d written was viable and asked them “If there are no problems, then please let me write the lyrics.”

—Did you sing the temporary vocals for the songs too?

Ishida: When I submitted the lyrics to Broccoli, I got the normal response of “Thank you, we’ll leave the temporary vocals to you.” Along with this message they also wrote “You can hire a professional vocalist if you’d like, or you could record the temporary vocals yourself.”

Because of this I started thinking that maybe I should record them myself. Similar to how one wouldn’t be able to write lyrics for the songs without a deep understanding of the story, if you weren’t the one who wrote the lyrics, you wouldn’t know how they’re supposed to be sung either.

So, after deciding that I had to be the one to do it, I made preparations to acquire some audio recording equipment and downloaded some editing software. I divided up the parts and harmonised with myself and over the course of three days, I finished recording the temporary vocals. That’s more or less how I did it.

—When recording yourself singing, being self conscious about it can interfere, can’t it?

Ishida: I don’t think I was possessed by him or anything, but… When I tried to go all out, as expected I felt a bit hesitant, so I began recording whilst imagining I was Neji.

In the game, Neji is the one who writes the scripts, so surely he would also write the lyrics and subdivide the song and do everything himself. So I got through it thinking like that. In that pumped up mental state, I sent in the temporarily recorded songs but all Broccoli said back was “Alright, let us know your upcoming schedule”, I got so carried away that I was somewhat bewildered by the cold response (lol).

~ ~ ~

Recruiting via DM, gathering specifically selected creators

—It appears the creators you gathered to handle things such as the concept art and music are all people whose work you enjoy.

Ishida: Yes. Almost everyone was sent a targeted offer. For example, I’ve always loved the concept artist Lownine-san’s work ever since I was a student. I suppose you could say I was jealous of how high quality their artwork is… They’re someone who I thought I'd never be able to beat in my entire life. Lownine-san is an amazing artist who is especially good at blending characters into their backgrounds.

When we were creating Jack Jeanne, I wasn’t sure if I’d be able to pull something like that off, so I definitely wanted to recruit Lownine-san for the job. After getting permission from Broccoli, I reached out to Lownine-san myself through Twitter DM’s. I had only appreciated Lownine-san’s work from afar, and we’d never actually interacted before, but we did both follow each other. I received a reply that Lownine-san was fully on board to accept the job.

Towards the end of Jack Jeanne’s development, I got the chance to speak with Lownine-san, so I asked them “Could you teach me how to draw?” They gladly accepted this request and taught me how to draw whilst screen sharing over Skype. However, in about 10 minutes, they’d already drawn such an amazing piece that I felt I should just put my pen down (lol).

Towada: You were a little down after that, weren’t you?

—Had you been a fan of Kosemura-san, who was in charge of music, since you were a student as well?

Ishida: Yes, I’ve listened to Kosemura-san’s music a lot since I was a student. When I was brainstorming what kind of music would fit Jack Jeanne, Kosemura-san’s ‘Light Dance’ immediately came to mind, since it fit perfectly. Because I didn’t have any personal connections to Kosemura-san however, I didn’t know how to get in contact with him, so I made the request through Broccoli. I only found out about this recently, but apparently Kosemura-san almost turned the offer down*, I was quite shocked to hear that (lol).

*When the initial request was sent, it was under wraps that the game was being made by Ishida Sui, and since Kosemura-san didn’t have much experience in writing game music, he wasn’t optimistic about the offer. However, later, when he learned that it was a game being made by Ishida Sui, he readily accepted the offer.

—How did Seishiro-san, who was in charge of the choreography, get chosen for the job?

Ishida: A very long time ago I saw the group Tokyo Gegegay appear on a program called DANCE @ HERO JAPAN and I remember thinking ‘this group is crazy good’ and I was immediately charmed by them. After that, whilst I was looking through more videos of Tokyo Gegegay on YouTube, I happened upon a studio workshop video and discovered Seishiro-san.

—What about him caught your eye?

Ishida: Whilst first and foremost his dancing was super sexy, it also had a certain strength to it. I remember thinking that he danced in a way that embraced the best elements of both masculinity and femininity. And that had stayed in my memory ever since. When Seishiro-san was recording motion capture for the game, he allowed me to interrupt and even taught me some of the choreography.

(note: you can watch Seishiro dance here, he is also the choreographer behind this RADWIMPS music video!)

—I hear you’ve known Gyudon-san, who was in charge of making the movies, since your Tokyo Ghoul days. 

Ishida: Yes. Around the time volume 13 of Tokyo Ghoul was set to be released, we held a still image MAD (Music Anime Douga) contest. The grand prize winner of said contest was Gyudon-san, who at the time was still only a student. The way they made a video by manipulating the manga panels to move so fluidly was really cool and stood out from the rest. 

Around when Tokyo Ghoul had ended and :re was about to start, I had Gyudon-san make a minute long video for me. After that, Gyudon-san grew in popularity and became someone whose work is in high demand, so they seemed very busy.

However when Jack Jeanne was announced, we were able to have them create a promotional video for us. Since I’ve known them since Tokyo Ghoul, I figured I couldn’t go wrong entrusting the job to Gyudon-san. They didn’t just deliver their finished work without a word either, Gyudon-san also made a variety of suggestions and worked on the project with a positive attitude. For the videos used in the performances, I was asked to provide materials and became very involved in the process. I think it took about two weeks… Despite the really tight deadline, Gyudon-san allowed me to catch up and was super helpful.

I was also the one who reached out to Touyama Maki-san, who was in charge of creating the in-game chibi characters and the 4koma manga used for promotional purposes. During Tokyo Ghoul’s publication, Touyama-san would draw short comics for the series as a hobby, I thought they were a nice person for doing so. Their art was great too and I was very thankful. So when it was decided that we’d be displaying chibi characters during the game’s lesson segments, I wanted to leave it to Touyama-san and sent them the offer.

(note: this is the MAD that gyudon won the contest with, they now regularly make moving manga CM's for jump titles, they make the Choujin X ones too!)

~ ~ ~

The winter performance moves into Quartz’s ending, and the divergence in the story since the beginning of the year drastically branches off

—The performances, packed full of each of the character’s skills, continue for a year and pass by in the blink of an eye. Once the new year breaks, it feels as though the atmosphere of the game drastically changes. What were your intentions behind this?

Towada: That’s when the character route specific endings begin. So we packed all the needed material to set them up into the winter performance.

Ishida: The winter performance is like an ending for Quartz as a whole, so we packed it full of good lines and scenes without holding back. I may have used up all of my cards but by using them all without compromise, we were able to make the story reach a nice peak. After that, the story switches to focusing on each character's individual ending.

Towada: We used a lot of great material in the winter performance, which meant the final performance would have to be even better still. In a good way, it gave us a higher hurdle that we now needed to overcome.

—So you needed to create even more anticipation heading into March?

Towada: From January to March, each character’s route is completely different. From the new year onwards I needed to create seven different scripts, so it was very challenging. The amount of text for the last three months of the game alone just about eclipses the amount of text from up until the winter performance. There was so much to write that I began to fear I wouldn’t even be able to finish it.

Ishida: Having more choices that drastically change the ending of the game makes the player feel more involved. So, despite it making things tougher on ourselves, around the time we were working on the autumn performance is when we began thinking about how the game’s big branches should work. Along with the main routes, we also planned for there to be the option to deepen your bonds with the side characters.

—How did you go about creating the confession scenes?

Towada: Before the winter performance, to some extent each character has already grown closer to Kisa, so I kept in mind not to disrupt that flow. Since if I didn’t make it a confession that respected both Kisa and her suitor’s feelings, then I felt it would spoil the fun.

—Is that how you approached the ‘realising Kisa’s a girl’ scenes as well?

Towada: Yes, I suppose so. As I was writing the script, I knew that a point was going to come where Kisa would have no choice but to acknowledge the fact that she’s a girl. There’s characters that realise her true gender once their bond deepens and on the flip side, there are some who don’t realise it at all. There’s also the case of Yonaga, who knew Kisa’s situation from the beginning. I guess you could say each reveal followed one of these three patterns. Those who came to realise it, those who didn’t notice anything and those who knew from the start. I think they ended up being nice variations and I put careful consideration into writing them to make sure none of the realisations felt forced.

Also, the beginning half of the story is akin to that of a sports drama about teenagers putting on shows together, so the room for romance to be added is limited. That’s why, when I first started adding romantic elements to the character routes, it felt strange to me, so I discussed it with Ishida-san. I wasn’t able to effortlessly soak the story in romance. I think I had to rewrite Shirota’s ending at least three times…

Ishida: Shirota was who you tried writing an ending for first after all.

Towada: Shirota and Kisa aren’t the sort of people who’d be all flirty, and Shirota’s initial route was already muddy, so it was difficult to pull everything together. However, once I stopped trying to write in a way that forced romance on them and instead wrote them becoming closer as partners, things went more smoothly.

It may not be a stereotypical sort of love, but it was a human love. I thought that the natural way these two would be drawn together wouldn’t be through whispering sweet nothings to one another, but instead by coming to understand one another without having to exchange words at all. Once I’d completed Shirota’s route, to some extent, I continued writing the other routes in a similar way.

Ishida: While it’s true Shirota acts like that, the other characters all act differently. To the point some aren’t even comparable. In contrast to Shirota, Suzu’s route ended up being more of your stereotypical kind of romance. I thought that it would be nice for each character to have their own unique form of love.

Towada-san’s strong suit is writing a love story with your more classic otome guys like Suzu and Kai. I have no idea about that kind of thing, so I left Towada-san to pour her own ideas into their routes. On the flip side, characters like Fumi and Neji were dyed more with my own ideas. Neji’s way of flirting especially were mostly lines that I requested.

Towada: He’d say “Make him say something like ‘Try seduce me!’ Because I want this CG to appear.” (lol).

Neji especially plays with his words a lot, so unless Ishida-san told me what wordplay to write, I wouldn’t have been able to expand on it. Ishida-san has a very unique way of phrasing things, so I asked him for advice a lot to make sure I was making Neji speak in a Neji-like way. I then arranged the lines and created events in order to reach the intended goal. I constructed the route in a way that wouldn’t disrupt the flow of the story. As for Fumi, Ishida-san wrote his route himself.

Ishida: Yes, I wrote it all myself.

—Well isn’t this quite the exciting plot twist?

Ishida: I turned into quite the young maiden myself (lol). Even though I’m clumsy at it… I began wondering why I ended up loving writing it so much. I added some lines that have more of an adult and deeper meaning to them, so when I played the route myself I was like “Woah!”.

Towada: It’s more interesting if at least one character is that way. From the early days of production, I’d quietly wanted Ishida-san to write a character himself, so I was happy. I was unsure how to deal with Fumi too, so it was a big help that Ishida-san took him on. His route ended up being a lot sweeter than I’d been expecting though, it got my heart racing (lol).

Ishida: I was also the main writer for Kisa’s solo route. There’s no romance in it, but it’s an ending where long lasting friendships are born and it ended up being the kind of story you’d see in an uplifting shoujo manga.

Towada: It’s full of Ishida-san’s flair, I loved it.

Ishida: If love is a lie, then how do you face that lie? That’s the sort of thing I thought about. Kisa is lying about her gender and pretending to be a boy, but Neji, Suzu, Fumi, Yonaga and so on, are also hiding lies within themselves.

The fact they’re all hiding their true motives is something that they have in common with Kisa. Whilst hiding, the two grow closer. I think that a confession is a scene where all these lies intersect and burst open. Everyone is lying, and I thought that was like a play, without realising it I think that slowly became the theme of the work. 

As people, we meet others whilst lacking something and some people end up becoming a necessary part for someone else. I wanted to see a drama like that. Despite it being a game with confession scenes, I wanted it to be a story that both women and men alike are able to identify with.

~ ~ ~

From thorns to rounded edges, how the style of work transformed 

—If there was a small novels worth of rejected material, then how many books worth of words made it into the final game?

Towada: In terms of paperback books, probably about twenty volumes worth.

—Because as well as the main scenario, there’s also the sub scenarios and the stage plays?

Ishida: As much as time allowed, I put my all into creating the game. However there was a deadline for things like the voiceline recordings, so I was working both day and night to get things done in time.

Towada: I was only getting around three hours of sleep. I feel like at one point Ishida-san didn’t sleep for four days.

Ishida: I was in a serious pinch so I don’t remember it well, but when I was writing the script I would hole myself up in a manga cafe for around thirty hours at a time. Multiple times a month. Once I felt as though I’d written to a good point, I’d go home only to return to the manga cafe again. Why? Because I was sleeping in the manga cafe. I mays well have been living there…

Towada: Once Ishida-san had finished writing his part of the script, he’d have me check it. So at the same time, I’d have Ishida-san check what I’d written.

Ishida: For a period of time it seemed like Towada-san was always awake. Whenever I would send a check request she always responded right away regardless of the time, so I figured she must not be sleeping.

So that my productivity wouldn’t be affected, I made sure to sleep at a regular time, however I’d be awake for like 30~40 hours at a time and then sleep for 10 and then be awake again for another 40. My sleeping patterns would repeat in this cycle. During Tokyo Ghoul’s serialisation my sleeping patterns were similar, so to some extent I might’ve gotten used to it.

—That’s just like Neji-senpai, isn’t it?

Ishida: Yeah yeah, I worked in a similar way to him. However in Neji’s case, he can complete a script just one day after coming up with the idea for it, so he works way faster than us. It took us around two months to write parts of the script, so Neji really is a genius isn’t he? I was writing whilst wishing I could be like Neji.

After experiencing writing a script, I’ve come to have a lot of respect for authors. Writing is completely different from drawing. When writing I need to really concentrate on it, I can’t multi-task or think about anything else. Whereas with drawing, there are some things that can be done as long as you can move your hand, so I can talk to someone whilst drawing or watch a movie in the background or work whilst thinking about other things. I can’t do that when I’m writing though, I was starting to wonder if I really had to think so deeply about everything I wrote.

—During the production of Jack Jeanne, as you worked on the script or the lyrics etc, did you notice any changes in how you worked?

Ishida: For Tokyo Ghoul, I was always consciously adding things, meaning I would draw everything that I came up with. I thought that it was fine to only put 20% of my output into the characters and dialogue. However, when I was working on Jack Jeanne, I began to think that my method of just adding things was incorrect and that I should also consciously remove things. It’s ok to just be left with what’s necessary. My way of thinking ended up being the exact opposite to before.

—What brought about this change in thinking?

Ishida: It was early in production, when I had asked Towada-san to write Shirota’s route for me, I got concerned about the ‘sharpness’ of the story. As I mentioned earlier, I ordered Towada-san to add this and that and sent her walking on a long journey. Except, what lay completed at the end of that road was such a painful story that even I myself was shocked by it. When I looked down at the world I had created it was as if I’d received a psychological shock. I think I even smelt the faint scent of blood.

—From thorns to rounded edges. I still remember the comment you made during a press conference saying, “I was careful to not kill off any characters”.

Ishida: Stories where characters die are usually fast paced with high stakes, however, the kids at univeil are living a different kind of story. I had to consider the best way to create drama in that kind of setting. I thought about it a lot and it may have only ended up being possible because of the fact it was a game.

—Why is that?

Ishida: Because of the flow of the dialogue, backed by Kosemura-san’s music while it's being read out by all of the voice actors. It all comes together as one… That’s what I think at least. Writing and illustrating are Towada-san and I’s main domain of expertise, but I think that it was thanks to all of the other various creators involved that we were able to create something new.

—Do you think anything about yourself changed, Towada-san?

Towada: It came down to the fact I wanted to create something for Ishida-san whilst there were also things that I wanted to add myself. This dilemma caused me trouble at times, however when I started to consider what components I should add, or which ones I should remove, I began to discover what elements I liked and what my own skillset was. 

The way that Ishida-san and I go about creating stories is different. I came to understand that Ishida-san’s strong point is creating impactful scenes, whilst mine is plotting and world building. Ishida-san being in charge of the pivotal scenes would make things more exciting, so I concentrated on writing everything else whilst keeping the balance in mind. Through working on Jack Jeanne, I’ve become able to say that my strong suit is being able to create a story that flows well.

It may be true that by working with other people, you come to understand more about yourself. Starting with Ishida-san, I also looked at what the other creators were doing and thought ‘so this is how they interpret the story.’ Seeing what they came up with made me notice different approaches that I hadn’t thought of.

I’d write whilst listening to Kosemura-san’s music and decide which way to take a scene. Or I’d watch Seishiro-san dance and think about how I could make the performances more exciting. We were all connected in some way. Novels are usually written alone by one person, so I came to learn the thrill of working on something in a team.

—The way you all came together as gears to create a single work sounds similar to the story of Univeil.

Towada: True. I never thought I’d experience something straight out of my youth again at this age. Being helped by other team members or being supported by them, being motivated by simple phrases like “It was great” or “I like this idea”.

For example, when I was working on the final phases of the story, I was just writing and writing with no end in sight, I couldn’t take it anymore and my pen just stopped moving. During this dire moment so close to the end, my proofreader messaged me saying, “You’re almost done.” And with that simple message alone, it was as if a burst of light appeared before my eyes. Everything had gone pitch black, but they lit everything back up again. Ishida-san also wrote some of the script, so I didn’t feel as alone.

Ishida: At that time I left all my drawings alone and decided to solely focus on the scenario.

Towada: Yeah, because I hit a point where I wasn’t able to write it on my own anymore… When Ishida-san sent me the script he’d written, it was interesting and I let out a breath of relief. I felt the joy of being able to see someone else's work. I was the same as the Univeil students who find joy in performing with others. I definitely wouldn’t have been able to do it if I was alone.

Ishida: You’ve got that right. I think that if anyone was missing from the team, it wouldn’t have worked out. Not to mention that in my case, everyone’s contributions were directed to me, and they were all people that I’d personally gathered.

With manga, even if it comes to the worst case scenario, at the very least it would all just fall on me. However this game isn’t just something I made on my own, I need to contribute as much as I can or the efforts of everyone around me will go to waste as well. There was a moment where I felt afraid of having such a heavy responsibility placed on me. However, if I had tried to do it all on my own, I think I would have given up.

By listening to wonderful music, reading interesting scripts and moving forward together with everyone, I was inspired. Coming together with fellow creators to make one work came with a lot of challenges, but it was fun. It was refreshing being in an environment working alongside other people, and because of it I was able to experience something new.

—Has working alongside other people changed the way you work at all?

Ishida: Right now I’m still in the state immediately after being swept away by the raging waves of a storm, so I’m not sure how I really feel yet. I’m in the phase of just watching what becomes of Jack Jeanne as the waves subside.

Even though the script and illustrations were done, like bonus stages lots and lots of new tasks kept popping up. So I was still busy with work up until the beginning of October last year. When I looked at some of the thoughts people had on the demo version of the game, it felt as though what we’d all been working so hard on had finally taken shape, and I was relieved.

Working on this project I’ve come to learn both the hardships and the fulfilment that comes with creating something with others. So, I suppose I’ve started considering working on something by myself again… I’m not trying to say that it’s in my nature to want to work alone, I think I’m just experiencing some kind of aftershock. I think the waves are returning.

Towada: I’m still working overtime and supervising Jack Jeanne (lol). Like checking content that will be posted on social media, as well as the 4koma manga. Content is still being released and there have been bug reports from some people who played the demo… Meaning that my journey is still not over yet. I think that things should calm down once the game has been released for a while.

Ishida: Yeah, probably after around five months (lol).

—After their final performance, the members of Quartz all threw a party to celebrate. Did you and the rest of the creators do the same upon the game's completion?

Towada: I celebrated with Ishida-san as siblings. And then afterwards we got swamped with work again (lol).

Ishida: Yeah, we didn’t end up meeting with the other developers or the voice cast. Big project after parties aren’t as common these days, but I do want to hear everyone’s stories of any struggles they had.

Towada: There were way too many people involved in total for me to be able to speak with them all, but I’d still love to convey my impressions to them. Like letting them know what I thought was good, or letting them know that a certain thing really helped me out.

Ishida: Ideally I would like to gather everyone and really have it feel that ‘this is the team of people that created Jack Jeanne’ and I’d like to express my gratitude to them all in person. I hope that an opportunity like that will come one day.

~ ~ ~

[dragon-ball-meta]

OK, re-uploading this fresh for a reason. It's time to break this down for y'all now that I'm home and have the time to read through this carefully. I want to make it clear, though, that this information is NOT currently corroborated and everything within is alleged until that happens. With that said, let's begin.

Some important points to note:

-Akio Iyoku pushed forward on the Sand Land movie for Toriyama without directly consulting superiors, due to "always serving the Author first, for better or worse". TV networks and animation companies allegedly seemed to find him condescending as a result of that philosophy.

-This, plus his reluctance to use AI or include "Metaverse" crossover material angered the higher-ups at Shueisha.

-Iyoku was demoted as a result of this, which is what spurred him to finally create Capsule Corporation Tokyo.

-Toriyama was also vocally upset with Iyoku's demotion, as Iyoku is the person he trusted most to handle the Dragon Ball IP. This spurred Shueisha's chairman to go to Iyoku's home and beg him to stay, to no avail.

-Iyoku became Toriyama's spokesperson, working the closest with him, which Bandai Namco has said made things a bit more difficult. Iyoku spoke for Toriyama, but Shueisha has the manga license, so they're unsure who to consult about the series for their games.

-Meetings were arranged to try to get things fully sorted, however, Toriyama sadly passed while they were still ongoing, and nothing has yet been resolved.

-It seems the future of the IP and who has the most control may ultimately come down to how Toriyama's family feels and who they decide to trust most with it. And that's where we find ourselves now.

OK, analysis over, will reblog with my thoughts next.

[wuucchoo]

(╯°□°)╯︵ ┻━┻

gege never said the original draft was boring, he only said he needed to revise it to fit the shonen genre more. where tf are all these people getting that lie from??? if he thought jujutsu sousen draft was boring, it's story line would not be implemented into the culling game arc that we have today.

it was unpolished. not boring.

(╯°□°)╯︵ ┻━┻

also, the reason for the mc switch is because yuuji's character fits the shonen genre more.

naive and just happy all around ((naruto??? gon??? luffy????? deku??? that kid in black clover?? i forgot his name)). im not saying that serious characters like megumi as mc was never done in shonen before - but since jjk was gege's first series, he had to conform to shonen norms a little for his story to be approved.

yuuji's character fits what shueisha thinks a shonen protagonist should be (his whole thing of saving every single person around and all that) while megumi's kinda fit seinen more (picking and choosing who to save depending on whether or not he deems them as a good person). gege wanted megumi to stay the way he originally perceived him, so instead of changing megumi's personality - he just gave shueisha the mc they wanted with yuuji. and kept megumi the way he is but as a supporting character that still have the same strong ties to the plot like how he originally wanted.

this isnt a megumi vs yuuji as mc kinda thing btw - because if gege had it his way he would have made this two a duo mc but shueisha wanted to keep to their formula.

i'll put the translation screenshots on here from twt account @///soukatsu_ - you be the judge.

tell me where he said boring there

((im just mad atm dont mind me. i'll probably go draw a chibigumi to calm myself <( •̀ᴖ•́)>))

im not, in anyway, against yuuji being the mc btw - i like how megumi was written in the story that we have now, granted i would love to see more of him, but his role in the story is just the way i like it! i'm just the type of fan who gets more invested in what the supporting characters are doing rather than the mc in any manga that i have ever read. e.g kagura (gintama), L (deathnote), sanemi? (kny), todoroki (mha), grey (fairytail), aki (csm), MEGUMI (jjk) etc etc.

so i like megumi as the supporting role.

and people seem to be forgetting that jjk almost got axed on its first ten chapters ((literally the same thing that almost happened to gintama back then)). so thats really just how publishing a series works. the mangaka (esp a first time serialized one) have to change the story flow here and there in order to conform to what the publisher want - not because they think the story they're trying to weave is boring.

tldr. gege never said he found his first draft boring. idk where all these people got this from. but i guess people wanna cling to anything that can keep their agenda running 🙄

im not gonna tag the general jjk hashtag here coz i'm kinda hating on the fandom atm lmao. its another week another megumi slander with these guys and its always coz of misinterpretation 🙄

[tamelee]

First of all, hi, how have you been? :)

So there is this Sasusaku account on Twitter who loves to use novels to defend their ship. I know, nothing new.

But this person recently made a thread to debunk the idea that novels are not canon, and their thesis was that every work published by Shueisha is canon because they have ownership of Naruto; therefore, saying the novels are not canon is the same as saying the Naruto manga isn't canon either (according to them).

I know you have talked about this before, so I apologize if this ask comes off as repetitive and/or annoying, but I was just interested in knowing your opinion since you know more about these topics, so feel free to ignore this ask if you want to!

Have a nice day ^^

Hi! Doing alright thank you ^^! 

“every work published by Shueisha is canon because they have ownership of Naruto; therefore, saying the novels are not canon is the same as saying the Naruto manga isn't canon either”

Oh yes, of course. 

Which means that aside from the novels that retcon the original, the… 

Random, OOC storylines in games 

Third-party interpretations, subjectively written data-books or fan-books

Merch, promotional art and other marketing material 

Filler episodes/Movies

Dash generation Manga or whatever 

Sasuke- and Lee’s chibi-adventures Manga

etc—

...are also all canon.

[click to enlarge]

Because "Shueisha published it".

Please make it make sense.

“But this person recently made a thread to debunk the idea that novels are not canon, and their thesis was that every work published by Shueisha is canon because they have ownership of Naruto; therefore, saying the novels are not canon is the same as saying the Naruto manga isn't canon either ”

No.

This is an incredibly flawed argument, because it’s already a non-negotiable fact that the Naruto Manga is canon. It just is. No question about it whatsoever.  

CANON=

The Naruto Manga is the authoritative framework that is the source material. This holds things like the rules, core elements of the story like: characters, themes, messages, the author’s intent etc- And fundamental canon holds the most significance of all within a franchise and provides consistency to the fictional universe in case publishing companies decide to expand on it.. 

By nature its intent is to reflect the original author’s vision; the Naruto Manga = Kishimoto’s vision. 

And everything that doesn’t align with it is simply not canon. 

Therefore the only thing left to argue about is whether legal “ownership” by itself can determine whether something is canon or not. But that isn’t how you measure it alone because it ignores actual canon. I mean yeah, who would’ve thought you’d have to look at canon in order to determine whether something is canon??? 🤯 Wild, huh?

So no: you can’t and that’s not how it works.  

Everything Shueisha decides or publishes through their distributors is official. 

It is official because they are copyright-holders and own the intellectual property (IP) at large which has many different aspects to it. They do own most of them in order to manage it all.

But not everything that is official is canon.

These are two entirely different things.

In fact, the only thing they themselves consider to truly be part of the ‘official’ timeline (which would establish ‘canon’ if it wasn’t such a retcon either) on the official site is Brt. It’s technically canon because chapter 700 exists, though it still makes no sense as it doesn’t stack up against the other 699 chapters and it still means nothing in terms of actual storytelling. Alas:

And even if they did claim ‘canon’, it’s only as significant as the source makes it out to be. Not the amount of profit they can make because they are legally allowed to exploit the work as much as possible through distributions, adaptations, translations, trademarks at JPO and handing out licenses left and right to third-party organizations (‘Namco Bandai’ for example) which then get their own rights or having entire licensing devisions handle individual IP regarding characters (yes your little blorbo is intellectual property) who manage it in terms of advertisements, marketing/promotion and merchandising (think about these pop-up shops), like: ShoPro

*Shueisha used to be owned by Shogakukan if I’m not mistaken and then separated at some point

It’s a business. And an insanely large one at that. They own so much more than you’d think, it’s a HUGE company (2nd largest publisher in Japan I believe) that doesn’t only own multiple magazines like Shonen Jump and its Manga, they also published the ‘weekly playboy’ and publishes things like many (light/erotic/graphic) novels and nsfw picture-books/manga etc. They will do anything as a business to make sure to profit commercially as is legally permitted within the established contract that varies per published IP and which they’re incredibly tight-lipped about. 

In the case of Naruto’s franchise, information that came after the Manga constantly contradicts not just actual canon, but also each other. Contradictions can’t all be canon or equally as significant at the same time because it needs a source— which we have; the Naruto Manga. It’s what holds the most significance.

That’s how you measure whether something is actually canon or not. 

“… therefore, saying the novels are not canon is the same as saying the Naruto manga isn't canon either”

Besides, if this was true, then canon wouldn’t even exist. Jfc. 

And yes, you can expand on canon like I said. That’s the whole point. It indicates a framework that allows publishing companies to stay consistent and keep their audience happy if they care to do so. But consistency in story or consistency in business doesn’t mean the same thing because it's motivated by two entirely different motives. The willingness to sacrifice artistic work and its audience in order to profit from it financially literally kills creativity in the industry as well as opportunities and it gives them way too much power. The stuff that’s coming out lately is garbage and it’s mostly thanks to people pointing fingers at someone random with their eyes closed, unconcerned about the consequences, and grant them and the business the authority to decide whatever the hell they want about things that already exist— and it never improves. (I’m always free to rant more about it but yk.) 

Like the person you’ve quoted, the motive isn’t to actually convince people that their terrible novels are canon, it’s that canon should give a ship in this case some significance when there wasn’t in the first place. To "fix" something that didn't need any fixing. It has nothing to do with the actual story. 

But canon does because it just is.

Non-negotiable.

Oh! you have a nice day too🌷 I apologize for the rants ><

[dropintomanga]

AI Can't Be the Whole Solution for Manga

So this week I found out out a Japanese start-up called Orange, who wants to be the Netflix of manga by translating a lot of manga with new apps and tools for the world to fight against online piracy. And to do so, the company will use AI to machine translate all of their manga into English. They also received $20 million USD in funding (one of their investors is Shogakukan) for their goal. This company wants to release up to 500 titles a month at some point.

I honestly don't know how to feel about this.

I read a more in-depth report from Deb Aoki of ComicsBeat and Mangasplaining about this whole startup. There's a lot of tout given by Orange about how this will help the manga industry overseas. Terms like deep learning, accessible content, influencers, reducing cost of localization, etc. are thrown around. Orange already has done some work for Shueisha for some of its MangaPlus titles. While it's apparent that the North American market only gets a small fraction of the manga published in Japan, there's concerns over whether this endeavor will end well.

A good number of manga translators and editors in the North American localization scene have commented on how bad this can be. AI machine translation is far from perfect. While DeepL (a Japanese language translation app similar to Google Translate) is arguably better than Google Translate, there's still errors abound. AI machine translation doesn't seem to be at a stage where you can just show it off to the world and have it translate something like a research paper with context. And even if the translation was good, there still needs to be people to fix errors AI will miss and the jobs to fix those errors don't necessarily pay well since they're the equivalent of "data entry" jobs.

And speaking as someone who reads up on mental health news, AI is not good for picking up nuances and differences that can help people for the better. It's only good for standardizing universal treatments. AI can not be open to the vulnerabilities of other people. One recent story I read last year was about a eating disorder helpline that created a chatbot to help those with eating disorders and how it bombed. There were complaints about how the bot didn't address patients' concerns that they were feeling down or bad about their bodies. Even worse, the chatbot gave some horrible advice by telling people to follow behaviors that led to their eating disorders in the first place. The support staff was fired in favor of the chatbot and while the chatbot was taken down after the complaints, it still left a bad taste in my mouth because mental health problems can never be solved without the human element.

I see this with what's apparently going to happen with manga. I don't see this creating a better world for manga readers. I'm well aware that there are a few professional manga translators in the scene who aren't doing a good job, but I feel they're doing fine for the most part. There's a glaring issue though that most people aren't thinking about - the amount of content we have out there.

We're in a golden age of having so much catered to us that it's ridiculous. Anime, manga, webtoons, video games, board games, music, etc. There's a lot out there. And to have a Japanese startup proclaim that they want to put out up to 500 titles a month, who realistically has the time to read all of them? I wonder if that's the point of these ventures - beat down consumers with so much material to consume that they become apathetic to what's going on behind the scenes.

I do want people to read manga, but I don't want them to become so overwhelmed to the point of burnout and numbness. That's the last thing any manga fan should want. I'm already hearing complaints from my fellow manga peers about the amount of manga we're getting here. It's nice to see bookshelves and libraries filled with manga, but which titles are really being read?

I also think there seems to be no universal standard that EVERYONE can agree with regards to localization. You have the professional side that knows a lot due to being inside the industry, but can be hindered by the Japanese publishing side and pestered by fans who think they know better. And you have the fan side that thinks they know everything because of scanlations and miscellaneous fan translations.

If you're a professional, it's a rough job and I applaud all manga freelancers who do it. Sometimes, I may not agree with the localization choices. But I'm not going to raise a pitchfork and treat them like they're witches. I know a few of those folks in-person and see the human in them.

If you're a fan, you can't expect a very casual reader to understand Japanese terms being spoken out right off the bat. It takes a while to get used to those terms. I'll use myself as an example as a riichi mahjong player. I throw out terms like suji, kabe, mentanpin, ryanmen, etc. to my fellow players. However, if there's an absolute beginner I'm talking to, they will have no idea what the hell I'm talking about.

I know some fans are like "Whatever, understanding those terms make me stand out. Yeah, I'm different! Screw the normal world!" But that makes it sound like gatekeeping to a certain degree. It's fine to have that kind of knowledge, but binding it to the very fabric of your identity is not healthy when circumstances change.

Orange seems to want a universal standard for manga translation by incorporating a variety of people into their process, but the fact that people will only be involved AFTER the translation makes me skeptical and the company is being called out for some things on their website. Both professionals and consumers will be screwed here. AI is being pushed so hard by corporations because it can readily applied to real life jobs and regular people in many ways, compared to cryptocurrency/NFTs, which applies only to people with a crap ton of money to spend. I've seen instances of AI usage at the company I work at - some of it good, some of it bad.

But nothing will beat the will and heart of the people. I think that's what scares AI-promoting people. Turning us into total mindless consumers prevents us from being mindful people that want to do right by others. Sure, reading manga makes me happy. But I don't want to be the only one who's happy. I also want people to make informed choices about what to consume.

I also want some people to stop assuming that Japan is the most "anti-woke" country alive out of their rage against localization because it's totally not. Japan has problems and there's people living there speaking out against them. They're "woke" in their own way. I swear that almost everyone who thinks Japan is better than the West hasn't lived there at all and are basing things from a very filtered point of view. I actually feel sorry for them because their lives are just so focused on consuming without thinking for themselves - a perfect market for the AI-pushing crowd.

I'll finish by saying that this AI-powered manga translation venture needs to happen with the right kind of people already on the table through the whole process and where everyone benefits. Everything bad with AI, as far as I've seen, has left people behind with no compassion or empathy. Manga has taught the wonders of compassion and empathy for all and I don't see the Japanese business side of things preaching what their works speak.

[satoshi-mochida]

OPUS: Prism Peak ‘Gameplay’ trailer, new key visual and screenshots - Gematsu

Publisher Shueisha Games have released a new gameplay trailer, key visual, screenshots, and character art for multi-ending adventure game OPUS: Prism Peak.

Here is an overview of the game, via it Steam page:

About

OPUS: Prism Peak is a narrative adventure where your choices lead to divergent endings. Play as a photographer lost in an ethereal realm, and unveil its mysteries with your camera to find your way home. A weary photojournalist, beaten by a life of failures, stumbles into an ethereal realm while returning to his hometown. There, he encounters many spirits as he searches for a way back, guided only by a mysterious girl who claims that a cabin in a distant mountain is their only way home.

Key Features

Photography – Photography in OPUS: Prism Peak reflects how deeply the protagonist perceives the world. To take the best shots, players must understand each spirit’s true desire, and capture the landscape within their subject’s heart.

Companionship – Among the spirits players encounter is a girl with no memory except a vague sense that she is there to help a grownup find his way back. Throughout their adventure, the girl will provide guidance in perceiving the world around them.

Wistful Magical Realism

Meaningful Choices

OPUS: Prism Peak will be available for PC via Steam. A release date has not been announced.

Watch the trailer below. View the screenshots at the gallery.

Gameplay Trailer

English

Japanese

Traditional Chinese

Simplified Chinese

[thegeekiary]

Pixel Art RPG "Soulvars" Offers Cool Visuals and Fast Gameplay! - PC/Steam Game Review

Soulvars (Image: PR/gianolabo/Shueisha Games) Soulvars is a pixel art RPG title with deckbuilding elements that offers some cool visuals, an engaging soundtrack, and fast battles. However, it isn’t without certain minor issues. Continue reading Untitled

[eulogysinger]

Based on Shueisha Culling Game hoodie designs

[theruffiansretrorampage]

art by HeroicEffort

[redsnerdden]

This Week In The Nerd Fandom: May 21st, 2023

This Week In The Nerd Fandom Focuses On Ken Akamatsu's Manga Diplomacy, Marvel Alienating Their Fans, The 120 Star Challenge, And More.