#like this is THE thing i've been wanting to do for work for over 10 years and now i finally get the chance to dip my toes into it

[peachjagiya]

You know what?

I did it.

Lets find out how much Tae didn't want to be there/was on his phone/was not involved, shall we?

Note 1: y'alls keep saying "Except for episode 1" but no, I'm not going to discount the bit that proves you wrong. You don't get to pick and choose what bits of his expended energy to consider when these episodes happened over 3 consecutive days.

Note 2: I have considered "not involved" to be any time he isn't with JK or Jimin or both.

Note 3: You can't measure "looks like he doesn't want to be there". It's subjective. So I have noted where his energy is dipped or doesn't match the other two.

Note 4: As we're in the business of assuming every word is accurate representation of feelings, I've included where Tae expresses joy and happiness that the trip is happening.

Note 5: These numbers are obviously simply what we saw on screen but that's what we have to go with. You can make logical assumptions but for the purpose of this, I have not.

Note 6: This is ridiculous and I fundamentally don't agree that any of them need to be on screen at all times to prove their interest to us. But asks like this really spurred me on:

The arrogance.

Anyway. Numbers:

Episode 1

🐻 After the intro where he has not yet been introduced, Tae is present in activity for all but 1m17s, just 2%, of the episode run time.

🐻 But those 1m17s are when Jimin is being filmed and we know Tae was in the restaurant with JK and in the pool with JK at those moments. So Tae is actually present in conversation or activity with either JK or Jimin or both for 100% of what the show presents as chronological events.

🐥 Incidentally, those Jimin moments were Jimin choosing to be on his own, first looking at the sea and then not being in the pool with JK and Tae.

🐥 Jimin also sleeps for 4m24s of screentime. In terms of not being involved, Jimin is uninvolved in conversation or activity with another member for 10% of the episode.

🐥 But it's important to remember Jimin was not well. We give him that allowance as a human being with bodily function that sometimes does not align with what is required for their work. Jimin was ill. If we assume he slept because he was not well, he actually only misses 1m17s through choice. That's just 2%.

🐰 JK was either showering or motorbiking any time he wasn't with one or both of the other two. He really pulls double duty these three episodes.

Episode 2

🐻 Taehyung is not involved in activity or conversation with another member for 14m9s or 20% of the episode.

🐻 That 20% comprises:

Being too stuffed to swim.

Going to bed early.

Being on a call at the cafe - organising his training workout for the next morning

While JK and Jimin were diving - he was unwell at this point; kinetic tape visible on his neck.

While JK and Jimin are snorkelling - unwell. See above.

While JK and Jimin are on the net drawing the shark

🐻 That seems a lot! But at 5m36s he first complains of neck pain, then at 26m17s the next morning he says he has a neck cramp.

🐻 So 7m9s or 10% are times when he is too hurt to be involved or is taking/making a call.

🐻 By choice ie; being too stuffed to swim, going to bed early and not laying on the net with them at first, he's not present for 7m or 10% of the screentime.

🐻 At the cafe, they all three look shattered. JK says he wants to sleep, as does Jimin. Tae is chilling in exactly the same manner as them. He also does a little skit as server when he's giving JK his drinks and then he's shown laughing - with JK - at something we don't see happen on screen.

🐻 He says a few things that suggest he's enjoying himself:

At 2m24s he says "It's so great travelling with you guys. Lets do this more often."

After snorkelling while they eat ramyeon, "This is great."

When he joins Jimin and JK on the net, "I love this."

🐻 You can hear Tae singing to himself over the headset as they ride to the boat. There's no numbers attached here, I just thought it was sweet.

🐻 What about "constantly on his phone" though...

At 42m21s he sends a message on his phone and puts it back in his pocket. He talks to Jimin as he does this.

At 42m30s he again sends a message on his phone and again puts it back in his pocket.

He makes a call in the cafe. He's talking to someone about when the workout finishes and that it's an indoor gym. This is probably the workout he booked for the morning.

At 55:49, he is shown on his phone while he's sitting out of snorkelling and then puts it aside and gets up to watch JK and Jimin snorkel.

Approximately 7s of phone time we see though we can guess more on the boat. But we don't see it so we won't assume.

Episode 3

🐻 This is his most detached episode. He spends 25% of it separately at times when the other two are together.

🐻 This includes:

He disappears from the BBQ restaurant for 1m34s. Jimin is also gone for this time. Discounted because all were not together. Any time when Tae is not the only one missing has been discounted.

Tae disappears briefly for 12s

Tae is unaccounted for while Jimin plays with cat and JK plays with dog for 2m11s. He does point the cat out to them but he could well have done it as he walked past.

In bed and then at gym for 5m32s

Napping at house for 6m31s. Jimin is also asleep for 2m16s. Subtracted Jimin's nap from Tae's time.

🐻 Phone time wise, he picks his phone up for 47s or 1% of episode time.

🐰 However JK uses his phone for 2m21s of the episode whilst in back of car. That's contrary to the TKK assertion that JK only used his phone in NYC and Sapporo, for the record. 👍

🐥 Jimin uses his phone as he's laying in the kitchen while JK cooks. He goes from sitting with it to laying on his back with it. Half of this he converses with JK while he's on phone, as Tae did at BBQ place.

🐻 At end of episode, he says he "felt like a kid again."

🐻 His energy does drop for the third episode. It's undeniable. But this guy wakes early and goes to work out - a planned early work out suggests it might have been important for some reason - and then the next time we see him, he's fighting sleep to the point where he drops off in the car.

🐥 Remember that Jimin fought sleep in episode 1 of Jeju and finally gave in for his little terrace nap. In the run up to him dozing, he was a little low energy too.

🐻 Of the seven activities they engaged in - swimming x 3, climbing, go karts, snorkelling, fishing - Tae didn't partake in two of them due to his neck. Jimin missed one. Jimin also doesn't climb as much as Tae and JK but he was not feeling his best either. JK took part in all.

🐻 All told, there is 16% of the whole show where Tae isn't involved. For a "guest", that seems a pretty big contribution.

Well. Do what you will with this information. You might think I'm biased so you're welcome to do your own analysis obviously. But you now know that I personally think you live in a house of lies, anonymous Tae haters.

[octuscle]

Hey, support! So I’m Gus and there’s this really handsome muscle daddy at this marine research center I work at and I want to get him to notice me. He’s really into beefy, well-dressed himbos with nice facial hair and big pecs. Could you help me out please? I don’t want to be too dumb cuz I really want to keep this job, but you can change me however else within what would be his type.

Chronivac is currently experiencing a few technical problems. But I've heard about this tanning salon. “Magic sunbed”. Ask for sunbed 2. 20 minutes should be enough. Definitely no more. Otherwise I can't guarantee anything.

Bekim has had a shit day so far. The turnover isn't right, his boss has given him a telling off. You're only the second customer. He greets you like an old friend. Couch 2 is free. Special offer for today only and for new customers: 30 minutes for a surcharge of just 10 percent and the special lotion at half price. Bekim explains that 20 minutes is basically useless. The skin only tans after 20 minutes. A lot helps a lot, you think. You've never been to a tanning salon before. The staff will know what they're doing.

You go into cabin 2, strip off and rub yourself with lotion. The lotion stinks. You look for an expiration date. Obviously still good for over a year. Then the smell of musk, sweat and sperm must be… Should you leave your underpants on now? Or take them off? To be on the safe side, you undress completely and lie down on the couch. You look for a switch to start the process. You are struck by lightning. It gets light, it gets warm. You close your eyes and try to sleep.

Sleep is out of the question. It's so hot. You're lying in a puddle of sweat. And the stench of the lotion is getting worse. So more intense… You don't actually find it bad any more. More like… Exciting. Your cock is getting hard. You start to wank. Your colleague from the lab in front of you. You can literally feel him running his fingers through your beard and pulling down your dungarees to suck your nipples on your monstrous pecs… Wait a minute! Dungarees? No, lab coat. Right? Never mind, your cock is almost bumping into the top shell of the tanning bed. Your balls are bursting. And then you shoot a geyser out of your cock. A fountain forms three or four times. And soon you're lying in a puddle of sweat and cum. Shit, you could have saved yourself the lotion…

The tanning process ends as abruptly as it started. Cold and dark. The upper bowl slowly rises. Shit, there's only the towel, which is far too small as always. But where are your things? “Yo, Bekim, where the heck are my clothes at?” you shout. Bekim knocks and brings you your dungarees, jockstrap, socks and work boots. The submissive pig couldn't resist wearing your clothes. You noticed he had a crush on you months ago when he started working here. You were one of his first customers. And then you became a regular customer. Shit, he was so excited, he did everything wrong. Well, today he's one of the old hands here. And somehow a buddy of yours. As long as the clothes are neatly laid out and not full of wax, it's okay if he lives out his fetish during your tanning session. Bekim wants to suck you off as a thank you. “Next time, Buddy,” you say. You have to go back to the lab. Your pager has already beeped four times. Some damn ventilation system isn't working as it should.

Bekim is like, the top dude of all time. He's not just about making sure your tanning bed is always ready for your regular sessions. He also hooks you up with the good stuff so your biceps stay swole and your nuts stay juiced. That's how the guy at the Marine Research Center where you work likes it. He's a real muscle daddy. And he's into his dumb janitor hoe.

[shitty-goose-quack]

the way she smiled when she picked up the phone really inspired me lol

[iamthepulta]

The best thing about Italy and Europe is that linen just- exists here. I can go buy a shitty cheap 100% linen dress like I would go to Fry's and buy a shitty cheap 100% polyester dress in America. Absolutely revolutionary for my wardrobe. I can't actually buy wardrobe enhancements because I have a carry-on suitcase, but the fact I still have the option is amazing.

[vraska-theunseen]

google how to not be sosososo anxious all the time. its not even like stress that motivates me to get things done it's just like. i make a mistake and misunderstood instructions in class and my teacher is like "you were supposed to figure out precisely where 180 was before taping the draft and punching your marks" when i like an idiot guesstimated it and after a moment of me going "oh..." bc its something i can't fix bc i've already punched in all the holes on the part he's like "i think you'll be okay" and goes back to what he's doing and then for three hours im like he's so annoyed with me i bring things to him too much and ask him too many questions and make the stupidest mistakes every day he hates me. i ask a friend something and they don't respond because they're busy or forget about it or don't see it or any number of other reasons and then a couple weeks later i send them something else and they don't respond for a few hours and its enough time for me to convince myself i said something a while ago that they took offense to without realizing and they're ignoring me and i send another message saying "are you mad at me did i do something can you tell me what i did so we can work it out" and he's like "what?". a friend posts about people treating them badly in a way that's clear they're talking about a specific phenomenon or person and im always like omg are they talking about me did i do something bad and not realize it... and its someone i talk to so infrequently and casually it obviously would not be a concern or someone i've known for so many years that they would obviously come to me if there was any conflict that arose. help

[minhmynchi]

(venting in the tags ignore this lol)

[gammija]

iiii dont think im gonna post much amagaday about this arc, because i don't enjoy the interpretation that jon was completely innocent in taking live statements, nor do i think basira or especially melanie were irrationally upset at him, and i know a significant amount of posts at least read as if people vehemently disagree

[isthehorsevideocute]

If I see one more walk/trot adult ammy fly around the country/go overseas to go horse shopping I'm going to have a fucking aneurysm.....

[pixlpawz]

thank you for the love on my fursona forecast post🩷

[umilily]

starting tomorrow i have a one week course that will either be the best thing to ever happen to me during my academic career or the absolute worst and i don't know how to feel about that.

[unexpectederawhilesubmitting]

WARNING: DOCTOR WHO SPOILERS EXPLAINING REGENERATION SHENANIGANS

-------------------

okay so I was kind of not on board with the concept of bi-regeneration, mainly because of how it seemed like all of the Sad and the Trauma that the Doctor had undergone got kind of handwaved away? i'm all for ncuti's Doctor being sort of a fresh start/jumping on point for new viewers, but i didn't get how that could work if like, literally 40 minutes ago he was David Tennant being a sad wet puppy dog of a man

however, after rewatching it, i've realized what i think happened there, and it goes all the way back to something introduced with the 4th doctor's regeneration that was never explained: the Watcher

^this spooky guy

so, for those that don't know (or haven't seen every episode of a show that is over half a century old), the Fourth Doctor regenerates at the end of a story called Logopolis (he falls off a satellite dish, but that's not important right now). all throughout the episode, this weird figure, The Watcher, stands off in the distance, and even intervenes slightly by saving the Fourth Doctor's companion. there's not much given in the way of an explanation until the Fourth Doctor regenerates, saying "it's the end. but the moment has been prepared for..."

the watcher walks up, and gets absorbed in a super rad 1980's digital effect (never change doctor who), while his companion just gives us the not-super-helpful-for-lore statement "He was the Doctor all the time!"

then, in a crossfade, the Doctor goes from Four to weird-powder-man to Five

canonically, the Watcher is explained as a future version of the doctor that comes about in sort of a weird overlapping thing with the doctor's timeline, it's very wibbly-wobbly timey-wimey.

-------------------------

SO what does this have to do with biregeneration and satisfying character arcs/moving on from trauma?

Well, remember, Fifteen said this, about Time Lords doing rehab out of order:

so, here's the thing: Fifteen is the Doctor AFTER Fourteen (duh, I know?) But to be clear...Fourteen lives out an entire lifetime with Donna and family, gets to a ripe old age, and then, when his lifetime of healing is over, he gets yeeted back through his own timestream just to zoot himself out of David Tennant's chest.

Remember, his first words to Fourteen (after popping out of his chest) are "So good to see you! So good!", not the RTD classic "what?". He greets himself like he's almost expecting this, he then says "does anyone want to tell me what the hell is going on here?" which only makes sense if he's coming from a different point in his own timestream (remember, when two doctors interact, memory gets really weird, 10 and the War Doctor don't remember the events of Day of the Doctor until they live through them as 11).

SO TO BE CLEAR: Ncuti Gatwa is playing the Doctor AFTER he has spent years healing from his traumas. His Doctor is fine because Fourteen takes the time to rest and work on himself.

tl;dr: I didn't like biregeneration at first because I thought it looked like this:

In actuality, it looks more like this:

[vetyr]

hi, i ireally love your work and i don't know if you've answered this before but, what kinds of studies do you do or how did you learn color theory? i wanna get better at rendering and anatomy but im having trouble TT TT

Hi! Long answer alert. Once a chatterbox, always a chatterbox.

When I started actively learning how to draw about 10 1/2 years ago, I exclusively did graphite studies in sketchbooks. Here's a few examples—I mostly stuck to doing line drawings to drill basic shapes/contours and proportions into my brain. The more rendered sketches helped me practice edge control & basic values, and they were REALLY good for learning the actual 3D structure behind what I was drawing.

I'd use reference images that I grabbed from fitness forums, Instagram, Tumblr, Pinterest, and some NSFW places, but you could find adequate ref material from figure drawing sites like Line of Action. LoA has refs for people (you can filter by clothed/unclothed, age, & gender), animals, expressions, hands/feet, and a few other useful things as well. Love them.

Learning how to render digitally was a similar story; it helped a lot that I had a pretty strong foundation for value/anatomy going in. I basically didn't touch color at all for ~2 years (except for a few attempts at bad digital or acrylic paint studies), which may not have been the best idea. I learned color from a lot of trial and error, honestly, and I'm pretty sure this process involved a lot of imitation—there were a number of digital/traditional painters whose styles I really wanted to emulate (notably their edge control, color choices, value distributions, and shape design), so I kiiind of did a mixture of that + my own experimentation.

For example, I really found Benjamin Björklund's style appealing, especially his softened/lost edges & vibrant pops of saturated color, so here's a study I did from some photograph that I'm *pretty* sure was painted with him in mind.

Learning how to detail was definitely a slow process, and like all the aforementioned things (anatomy/color/edge control/values/etc.) I'm still figuring it out. Focusing on edge control first (that is, deciding on where to place hard/soft edges for emphasizing/de-emphasizing certain areas of the image) is super useful, because you can honestly fool a viewer into thinking there's more detail in a piece than there actually is if you're very economical about where you place your hard edges.

The most important part, to me, is probably just doing this stuff over and over again. You're likely not going to see improvement in a few weeks or even a few months, so don't fret about not getting the exact results you want and just keep studying + making art. I like to think about learning art as a process where you *need* to fail and make crappy art/studies—there's literally no way around it—so you might as well fail right now. See, by making bad art you're actually moving forward—isn't that a fun prospect!!

It's useful to have a folder with art you admire, especially if you can dissect the pieces and understand why you like them so much. You can study those aspects (like, you can redraw or repaint that person's work) and break down whether this is art that you just like to look at, or if it's the kind of art that you want to *make.* There's a LOT of art out there that I love looking at, probably tens of thousands of styles/mediums, but there's a very narrow range that I want to make myself.

I've mentioned it in some ask reply in the past, but I really do think looking at other artist's work is such a cheat code for improving your own skills—the other artist does the work to filter reality/ideas for you, and this sort of allows you to contact the subject matter more directly. I can think of so many examples where an artist I admired exaggerated, like, the way sunlight rested on a face and created that orange fringe around its edge, or the greys/dull blues in a wheat field, or the bright indigo in a cast shadow, or the red along the outside of a person's eye, and it just clicked for me that this was a very available & observable aspect of reality, which had up until that point gone completely unnoticed! If you're really perceptive about the art you look at, it's shocking how much it can teach you about how to see the world (in this particular case I mean this literally, in that the art I looked at fully changed the way I visually processed the world, but of course it has had a strong effect on my worldviews/relationships/beliefs).

Thanks so much for sending in a question (& for reading, if you got this far)! I read every single ask I receive, including the kind words & compliments, which I genuinely always appreciate. Best of luck with learning, my friend :)

[thewispsings]

can u PLEASEEE do an smau w oscar x american! reader who’s super gothy and witchy and they go to salem for halloween pleaseee!!

salem date | oscar piastri

pairing; oscar piastri x witchy!reader

summary: oscar loves his witchy girlfriend, and takes her wherever she wants to go, even if it means missing work

liked by oscarpiastri, maxverstappen1, landonorris, and 619,026 others!

yourusername: my favorite thing about moving to monaco? getting to decorate a whole new space and exploring cute new witchy stores 🐈‍⬛🖤

view comments below!

oscarpiastri: is living with me not your absolute favorite thing about moving to monaco?

yourusername: no. walking abracadabra on the beach is my favorite thing, living with you is like top 10

user1: i still can’t belive they named their cat ‘abracadabra’

user2: it’s so on brand for yn, but for oscar? not so much

user3: please, yn has that man wrapped around her finger. if she told him to change his name to halloween, he would do it

maxverstappen1: yn i need my cards to be read again, when are you free?

yourusername: i’m free friday next week, that okay?

maxverstappen1: perfect!! thank you :D

user4: in doing tarot readings for the drivers is so dear to me

landonorris: wait i want my cards read too :(

yourusername: sorry lan, im not free for another 2 weeks after that

landonorris: ugh max ruins everything

maxverstappen1: you snooze you lose, loser

user5: im in monaco, yns in monaco, i have a chance to met yn ln. holy poop

user6: omg i need an apartment tour????

user7: weird question, do you ever get looks by other people? i know you dress quite alternately and was wondering how accepting europeans are?

yourusername: i get looks all the time, but I've become quite used to it, im not bothered by it as i used to be. but i definitely get more looks in places that aren't so touristy, than places like france. key is simply ignoring them 🖤

user8: they just can't handle your swag

charles_leclerc: leo wants another playdate with abra, when are you free?

maxverstappen1: you aren't tricking ANYONE. you keep using these playdates so yn can read your cards without you needing to make an appointment

user9: appointment?? 😭

yourusername: is that true charles?? you've been using leo??

charles_leclerc: NO YN DON'T LISTEN TO HIM, HE IS JUST JEALOUS OF LEO'S AND ABRACADABRAS RELATIONSHIP.

yourusername: i can't belive this charles, i just, i need a moment.

charles_leclerc: yn... it's not what it looks like...

oscarpiastri: am I interrupting something???

user10: you're interrupting the friendship breakup of the century 💔

liked by oscarpiastri, charles_leclerc, and 793,073 others!

yourusername: we are all halloween ready

view comments below!

user11: my favorite time of the year <33

yourusername: you and me both

charles_leclerc: leo misses abra

yourusername: does he? or do you just miss my card readings?

charles_leclerc: little bit of both, i got him a halloween costume, you don't want to see it?

yourusername: of course i want to see it

charles_leclerc: i'll be over in 10 minutes!!

yourusername: DO NOT expect that i'll read your cards

charles_leclerc: i don't 😞

user12: they're back!!!!

user13: salem this year???

yourusername: im still not sure, oscar cant make it this year and it feels weird going without him :((

user14: "it feels weird going without him" OSCAR IF YOU DONT GET YOU AND YN ON A FLIGHT TO SALEM RIGH NOW ISTG.

user15: im going to salem this year in honor of yn not being able to go ✊

maxverstappen1: abra looks so cute!! jimmy and sassy need one of those hats right now

yourusername: i'll make more max, what colors?

maxverstappen1: blue and orange please!

user16: cat lovers bond in the weirdest ways

oscarpiastri: thank you for re-decorating love, i just love waking up to a fake skeleton on our ceiling 🧡

yourusername: put some respect on sir bones name oscar. i’ll have you know that he’s there to protect you.

oscarpiastri: from what?

yourusername: the spiders

oscarpiastri: and how does sir bones protect me from said spiders??

yourusername: he scares them away. duh.

landonorris: yeah duh oscar. gosh get with the program.

liked by oscarpiastri, maxverstappen1, and 620,726 others!

yourusername: salem we love you 🖤

view comments below!

user17: SALEM DATE 3 YEARS IN A ROW!! THATS RIGHT BABY 🕺🕺

maxverstappen1: you’re telling me i could have skipped media day?

yourusername: would you be interested in going to salem?

maxverstappen1: um, to skip media day? yes!

user19: max and his hate for media day will live down as the longest rivalry in f1

user20: need myself a man who would call in sick just so he can take me to some random town for a couple hours

user21: random town??? put some respect on salems NAME.

user22: do you guys think the FIA knew he was missing media day for this, or do you think he told them he was like sick or something 😭

landonorris: i can confirm that they did not know about salem. and he is now in trouble.

user23: NOOO OSCAR

user24: omg oscar just got a fine

user25: HOW MUXH???

user24: they didn’t disclose. all they said was “we have been made aware that a certain driver decided to go on vacation instead of fulfilling their duty.”

user26: that’s so funny

user27: #free oscar

oscarpiastri: the fine was worth it 🖤

yourusername: 🖤🖤🖤

user28: omg wait. do you guys think this was a surprise?? because yn said before that oscar wasn’t going to make it??

yourusername: yes, oscar did suprise me with tickets to salem this morning!

user29: OMG THATS SO CUTE AHHHHH

user30: they’re perfect for each other

charles_leclerc: group trip to salem next year?

georgerussell63: we have practice that day

maxverstappen1: so? we’ll all call in sick or something

f1: 🤨

maxverstappen1: you didn’t see that

. . .

notes: thank you for requesting!! this was fun to make ;))

[room-surprise]

New Ryoko Kui interview dropped!!!

(This is a quick and dirty translation made using machine translation, and which I've lightly edited to add clarity. I'm not fluent in Japanese so I may have gotten things wrong. I'm sure others will do a better job later.

ADDITIONAL CONTEXT: This article is from a Japanese gaming magazine, like the previous interview in Famitsu, so they focus on video games and don't discuss other influences, even though they do get mentioned and are clearly pretty major.)

Kui was able to write "Dungeon Meshi" because she was not good at eating food and participating in human relationships. In this interview, we dig deeper into the influence of games, and how Ryoko Kui focuses on things she likes and dislikes while writing. [Writers of the Gaming Generation]

Dungeon Meshi.

This manga is attractive for its unique theme of "dungeons, defeating monsters in the labyrinth, and cooking them," as well as the unique characters, detailed human relationships, and deep worldview depicted in the labyrinth. It is currently being made into an anime, and adventurers from all over the world are fascinated by the world of "Dungeon Meshi."

So I thought , "I wonder if this work was drawn by someone who loves food and people." The depiction of such delicious-looking food and the construction of delicate human relationships and characters. Surely, it must have been drawn by someone who absolutely loves it.

However, in reality, the author, Kui Ryoko, says that she "is not good at either food or relationships."

So why was he able to continue drawing things she was not good at?

During the roughly 10 years of serialization, Kui has continued to confront "things she dislikes." This interview delves into Kui's unique creative techniques... and at the same time, it also delves into her "favorite things."

That's the "game"!

Those who are familiar with the subject may already know this, but Kui is also a big gamer. And it seems that "Dungeon Meshi" is heavily influenced by RPGs such as "Wizardry."

As a result, this interview turned out to be "I asked Kui a lot about her likes and dislikes." Likes and dislikes. They are the source of all interests and curiosity.

So how do we use this knowledge in our creative endeavors? How does this knowledge manifest itself in Dungeon Meshi?

How were those charming characters and the deep world created? We spoke to the original author, Kui Ryoko, and the editor, Masaru Hiroi, about things they could only talk about after the series was completed.

This is a game with the volume of a great labyrinth. I hope you will explore it all the way to the final floor!

Dungeon food. It's eat or be eaten. There is no superior or inferior, to eat food is simply a privilege of the living. Dungeon food. Ah, dungeon food.

First, I want to ask about how Kui first encountered video games.

--What are some influences from games in Dungeon Meshi? What was your first game, Ms. Kui?

Ryoko Kui (hereinafter referred to as Kui): I played traditional RPGs such as [blank?] and "Final Fantasy."

I think the first game console I ever played was a Famicom, which my parents won in a lottery . So before I knew it, we had a Famicom at home. I think my parents bought me the Super Famicom and PS1 after that...

After that, I took a break from games for a bit around the time of the PS2, but around the time of the PS4, I was finally able to buy games with the money I had earned myself .

--Why were you able to stay away from games around the time of the PS2?

Kui: I was too busy with exams, so I thought, "Well, I shouldn't be playing games," and left. When I started living alone after that, I couldn't play games because I didn't have a TV. My computer was also a Mac. [Macs aren't compatible with many games.]

--What was the trigger that made you think, "I want to play games" again?

Kui: I think the biggest thing was starting the serialization of "Dungeon Meshi."

Fantasy stories all have different settings, but at the same time, there are also things they share in common. For example, if you want to create a fantasy work, but you only know "Dragon Quest," it will end up resembling "Dragon Quest." It's scary to copy the setting of only one work.

So I just wanted to play a ton of different fantasy games and get an idea of ​​what the most common general understanding of fantasy is.

--Did you start playing it while you were still developing the concept for Dungeon Meal?

Kui: That's right. If I'm going to talk about "eating food," I have to play a game that has a system for eating food .

So I was interested in "Dungeon Master." However, at the time there was no easy way to play "Dungeon Master" on a real machine, so I played "Legend of Grimrock", which can also be played on a Mac.

["Dungeon Master," is a computer RPG released in 1987. Time passes each time you take an action in the dungeon, such as moving, fighting, or resting, so its biggest feature is that the game progresses in real time according to the player's actions. "Legend of Grimrock," is an action RPG released in 2012. It has a game design similar to "Dungeon Master."]

Until then, I had felt that overseas games and games played on PC were too difficult, but I felt like I had overcome one obstacle there. I thought, "Oh, this is pretty easy," and started playing a lot of different games.

-- Those two games are quite heavy even among RPGs, I think, so did you actually have that much difficulty with them?

Kui: No...I would say that my impression is more that best-selling games are easy to play (laughs).

I'm not that good at games myself, so I usually play games that allow you to adjust the difficulty on a super easy setting. So, games that allow you to lower the difficulty are always a lifesaver.

-- I've heard that apart from RPGs , you also like games such as "13 Sentinels: Aegis Rim" and "Paranomasite FILE23: The Seven Mysteries of Honjo ." Do you have a favorite genre, Mr. Kui?

Kui: I guess I'm just not very good at games that require you to use your brain through trial and error.

But in RPGs, if you just level up and keep tapping, you can win and progress in the game. Also, in novel-type games, if you read the text, you can progress. By this process of elimination, I quite like RPGs and text-based games .

Personally, I like games like Disco Elysium the most, which are text-heavy, top-down, and have maps to explore.

...Even I think that's a pretty negative reason (laughs).

Everyone: (laughs).

Hiroi Masaru (hereinafter referred to as Hiroi): But, Ms. Kui, you have really played quite a lot of games, haven't you?

Kui: No, the reason I'm able to play so much is because I play in a pretty callous way ...

I often buy a game, play it, and then just don't play it. So there aren't that many games I complete... I only complete a few a year. I play around 40 games, and if I complete 5 or 6, that's good.

When I asked if I could draw at Comitia, I got scolded.

-- Have you had any exposure to fantasy outside of digital RPGs?

Kui: I think it's not just games, but also the fact that I've always loved foreign fantasy novels . I was given books like "The Neverending Story," "The Lord of the Rings," and "The Chronicles of Narnia."

-- Dungeon Meshi gives off an atmosphere of Western fantasy like gamebooks or tabletop RPGs, rather than the typical Japanese fantasy games like Dragon Quest.

Hiroi: I think I went to Kui's house before the series started. At that time, we were discussing the name of a sci-fi manga called "Drawing Inside the Brain," which I had rejected many times.

Ms. Kui said she wanted to serialize this sci-fi manga... and when he was on the fourth draft, he said, "No, this isn't going to work," and when I looked at the scribbled notes next to her desk, she had already drawn the original version of "Dungeon Meshi" ! (laughs)

Kui: ……………No, I don't remember much (laughs).

Everyone: (laughs).

Kui: But I had wanted to draw a manga about exploring a dark dungeon, like Wizardry .

Since I was in elementary school, the manga I drew in pencil in my notebooks were all fantasy stories about swords and magic, so I had always wanted to draw a proper fantasy manga. However, there weren't as many fantasy manga in bookstores at the time as there are now, so I wondered, "Maybe fantasy doesn't sell."

Hiroi: At the time, there were a lot of people in their teens and twenties posting fantasy illustrations on online communities for artists, such as pixiv, and Kui was one of them.

I thought, there are so many people who want to write fantasy, so if she writes a fantasy aimed at this generation, it might sell.

And when I saw Kui's notes, I thought to myself, "Let's make a straight-forward fantasy manga, without making it weirdly twisted."

Kui: I originally thought of making this "dungeon exploration manga" as just a hobby... When I asked Hiroi if I could draw it at Comitia first, he got angry.

[Comitia is a comics convention in Japan for original self-published comics.]

Everyone: (laughs).

Hiroi: I said, "If you're going to draw at Comitia, then make sure you draw it as a proper serialization!" (laughs)

However, at that time, Kui had already published two collections of short stories, and they were being reprinted. In other words, she had a certain number of fans even before the serialization began.

So I decided, if Kui creates a pure fantasy for those fans, we can't fail badly. If it doesn't work, we'll just learn that fantasy is difficult to sell after all.

--By the way, were there any discussions between you and Ms. Kui about the fact that fantasy doesn't sell?

Kui: I remember vaguely talking about how fantasy manga doesn't sell well and how difficult it seems. I don't know much about light novels, so that might have been there for a while.

However, since a lot of fantasy manga were coming out around the same time, it was probably a "transitional period ." Maybe it was just when people started to feel more and more like they wanted to draw and read fantasy.

Not everyone is that interested in the things I like

-- I feel that "Dungeon Meshi" is a title that has breathed new life into the fantasy genre. How did you go about creating the setting and world when dealing with fantasy?

Kui: I try to think, "Not everyone is that interested in the things I like."

I like to think about pointless settings endlessly, but there are times when I think , "When this setting is actually made into a manga, people probably won't be interested in this story." So I try to include things that will make people interested, and cut out things that will distract people as much as possible.

For example, in "Dungeon Meshi" I initially wanted everyone to speak various languages. On top of that, I wanted to make the characters "only able to communicate with each other in one language"... but Mr. Hiroi said "Don't do that" (laughs).

Everyone: (laughs).

Kui: Even when I'm drawing it myself, I think, "It takes more than six panels to explain this setting...", and if I explain the setting more than necessary, it slows down the pace of the story.

Moreover, since "Dungeon Meshi" was a monthly serialization, unlike a weekly series, there wasn't much time for extraneous stories. Specifically, I had to draw one episode of about 30 pages per month.

In that case, there was no time to add in settings like "Actually, he was thinking about this behind the scenes" or "Actually, he can speak two languages." So, rather than there being any clear choices, there were quite a few times when "there was no time to do things normally." If it had been a weekly serialization, I might have included more.

--Does the scene where Chilchuck yells insults in his own language feel rather "forced"?

Kui: That's right (laughs).I thought, this only takes one frame...it's my chance [to include information about language]!

--So you haven't thought through all of these "fictional languages" yet?

Kui: If Dungeon Meshi were to be my life's work and I were to spend my whole life creating this world, I think it would be more fun to think about it...but initially, I thought that Dungeon Meshi would end in a few years.

Hiroi: Initially, I said, "It'd be nice if it continued for about five volumes" (laughs).

However, Kui's first draft really had a lot of material... so the editors cut out a lot of it. I understand that it's the parts the readers want to read, but I cut out the parts that deviate from the main story. So it's a battle between the "author who doesn't want to be cut" and the "editor who wants to cut."

--By the way, what kind of discussion took place between the "parts you want to cut" and the "parts you don't want to cut"?

Kui: There were a lot of them every time, but I can't remember them specifically now...it was just small, unimportant details that got cut.

In the scene where the hams made by the Red Dragon go back into the pool of blood, I remember saying, "You don't need these," and they were about to cut them off, but I remember desperately stopping them by saying, "We'll need them later!" I'm glad they weren't cut off.

But once I think of the setting, I want to include things, and then they get cut out, so at first I didn't want to expand the world too much.

I also wanted to complete the story within the dungeon. I didn't want to reveal the name of the country, and I didn't want to give the characters surnames. But in the second half, Hiroi-san told me, "The world is too small, so you should make it bigger," and I was like, "Are you sure?"

--Mr. Hiroi, why did you say that?

Hiroi: As the story progressed, it became clear that "Dungeon Meshi" was no longer just about saving a sister in a dungeon. So I decided that it would be unconvincing if the story had no involvement with the outside world, since what was happening in the dungeon was something that would affect the fate of the whole world.

For example, in real life companies, the more important a decision you make, the higher your superior's rank becomes, right? When I thought about it that way, I felt something was off about the idea of ​​Laios and his friends deciding the fate of the world on their own. "How can they make that decision without anyone knowing about it?"

The fact that the Canary Team was there meant that there must have been a system of reporting, contacting, and consulting here, because that's how "society" and "organizations" work.

In short, I think we were thinking about the situation and asking, "If an organization were to get involved in saving the world, how persuasive could they make it given the society that exists in the story?"

Kui: Well, the plot hasn't changed at all.

From the beginning, I had intended to write a story about saving the world, but I also thought it was possible for the world to be saved by only a select few people in the dungeon who knew the circumstances. Changing it was what Hiroi-san thought would make it more persuasive.

When I was drawing the first half, Hiroi told me, "You don't have to decide anything yet." I was in a hurry to move the story forward and explain the world and story setting, but he told me, "It's better to limit it to introducing the four main characters until about the fourth volume." But in the second half, he said, "Introduce more people and expand the world."

Everyone: (laughs).

Hiroi: Kui-san was like , "That's not what you said originally!" (laughs) But both had meaning...

Kui: I was the one saying, "If we expand the world there, the story will never end, right...?"

After drawing it through to the end, I realized that the balance between holding back and expanding didn't work the way I had expected. I think this is one of the reasons why the serialization of "Dungeon Meshi" took so long.

-- But there are a lot of characters in "Dungeon Meshi," and the relationships between them are complicated. I heard that you also created the relationship diagram for "Taikaishu" [※3] ...

Kui: No, I haven't made one [I didn't do that?]!

[Taikaishu is a full-color web comic by Funako Tsukasa that began serialization on a website in 2005 and is still ongoing. Its unique worldview has earned it a loyal fanbase, especially on the Internet.]

-- Eh? Is that not the case?

Kui: To be precise, I just created an account on the fan wiki.

When I started reading "Taikaishu," I struggled with the complex setting and the large number of characters...and I thought "it would be easier to read if there was an explanation or a list of characters."

So I searched for a bulletin board where readers were sharing their thoughts and asked if there was a summary, but they said there wasn't. So I thought, "Maybe if there was a place where someone with more knowledge could summarize it," and I just made a wiki account.

So I didn't actually edit it. It seems like I've been given credit for someone else's work, and I'm sorry about that...

Dungeon Meshi was created from a sense of guilt about food?

-- "Dungeon Meshi" started off with the catchy theme of "cooking monsters," but little by little the darker aspects and deeper world were revealed. Was the structure of "little by little revealing the darker side" something you had in mind from the beginning?

Kui: I thought I needed a theme to serialize it so I thought I'd try "food education." There were a lot of gourmet manga at the time, but I felt like there weren't many that focused on food education.

-- Considering that the theme is "food education," it makes sense that the nutritional value of the dishes in the story is clearly written down.

Kui: With the theme of "food education," I also thought up a rough outline of the story. Rescue the kidnapped princess, defeat the evil wizard, defeat the final boss, and become king... the framework is pretty simple.

But when I actually tried to proceed with the plan, I realized, "No, this story can't be done so lightly..." At first, I thought I could draw it in a more light-hearted manner.

Hiroi: At first, you were trying to finish the fight against the Red Dragon in one episode, right? I was like, "is that possible?" (laughs).

Everyone: (laughs).

Kui: When I tried to actually tell it in one episode, it ended up feeling like a very brief summary... In order to tell the story I wanted to tell, I had to tell it more thoroughly than I originally thought.

-- Did you have any special thoughts about the theme of "food"?

Kui: No... well... if I had to choose, I'd say I have a strong grudge against food.

Since I was a child, I was a very picky eater, and mealtimes were a pain for me. I hated eating in front of other people, and there was a time when I hated seeing other people eating, so I would look for toilets that were rarely used and eat my meals in the toilet.

When I was doing it, the word "toilet meal" didn't exist, so when the term actually appeared in society I was so happy, thinking "everyone was doing it!"

[Toilet Meals are a social phenomenon in Japan.]

Everyone: (laughs).

Kui: I was thinking, "This is so terrible, right...?" but it was a relief to realize that other people were doing the same thing.

--So what made you choose the theme of "food education"?

Kui: My parents, who were struggling with my picky eating, taught me many things, including the "triple eating" method, but it was no use and I continued to be a picky eater into adulthood. My parents had instilled knowledge about food education in me, but I was not able to put it into practice.

[Kui might be talking about Triangular Eating but I'm not sure.]

So the only thing that remains is that I feel an enormous amount of guilt when it comes to food and eating...

Hiroi: If you think about it objectively, the series starts off on a very negative note.

Kui: But now I've gotten over the habit of eating with other people... or rather, I've come to like it. My editor takes me to lots of delicious places.

--When I was a student, I was trying to leave my udon bowl at school, but my teacher found out and made me eat the packet of udon by myself. There was no soup, and it was really hard to eat the udon by itself.

Kui: It must be tough. I tried to hide it, but my teacher found out and I got really angry.

Hiroi: I've tried to hide it in a drawer before. Then, something dried up came out of the drawer... (laughs bitterly).

How can I draw things I hate?

-- Or rather, is it the fact that you're not good at it that gives you a higher level of insight into the food?

Kui: I think it's because you're interested in it that you either like it or dislike it. Inevitably, you spend a lot of time thinking about it.

Since "Dungeon Meshi" depicts a lot of food, one might think "Do I like eating?", but in fact there are many times when I draw it because I dislike something .

--Aside from food, do you also draw things that you dislike?

Kui: Maybe. For example, human relationships, modern times, fashion...?

-- Perhaps the relationships between the characters in "Dungeon Food" are portrayed so delicately because the author is not good at dealing with human relationships?

Kui: I've always been very curious about things like, "(This person is usually so cold, but has such a charming smile in front of other people)" ...

I feel the same way, but I think people are different in the way they show their true colors. I think it's strange that it stands out to me...

-- I have a simple question. When you draw something you hate, how do you feel? No matter how much you hate something, do you find it fun to draw it?

Kui: The events in the manga don't directly involve me, so I don't dislike the things I'm drawing as much. Also, when I draw while looking for the good parts, it can lead to new discoveries.

Also, I think it's scary to draw only what I like.

In my work, the important thing is "what to capture with the camera," and there's no need to go out of your way to capture filthy things, but at the same time, I think the world will look bigger if you keep in mind that "there are a lot of inconvenient, dirty, and unpleasant things outside the camera." That's the feeling I have when I paint/create manga.

When playing a game, if I have to choose between a game where I only feel like I'm in the world inside the game screen, and a game where I feel like there are lots of people living on the other side of the screen, and that the people in that world could travel anywhere they wanted, I think the latter is more fun to play.

I'm always thinking about how to express that "sense of the vastness of the world" ...and I personally like games that have "a world" to them.

-- Do you ever incorporate elements from the game into your manga?

Kui: On the contrary, I think that is a part that cannot be adopted .

The best thing about games is that each person has a different experience. Games that have lots of endings are also a result screen for what you've done up until that point. When I see something like that, I think, "That's so cool."

Personally, I think that's the game's greatest appeal, and something that could never be replicated in a manga that doesn't have players.

If you're so busy, when do you play games?

-- I'm personally curious, how do you find the time to play games? Even though you're busy with your work as a manga artist, you play quite a lot of games.

Kui: I often use the Steam Deck before going to bed or during breaks between writing manuscripts. In fact, I almost only use the Steam Deck now. I keep it by my pillow, so I can take it and play before going to sleep, or during breaks...

--Is Steam Deck really that convenient?

Kui: I recommend it. The screen is small, but it can run Cyberpunk 2077 .

Also, personally, I've gotten tired of having to turn on my PC to start up a game...with Steam Deck, I can just turn it on and it starts up instantly, even when I'm lying down. How do you writers usually play games? There are times when you have to play games for work, aren't there?

--When it comes to work, I calculate backwards how long I'll be playing before I start playing...If it's a game that can be completed in about 60 hours, I usually estimate that I'll play for 3 hours a day and complete it for 20 days in a row.

Hiroi: It's a lot of work!

Kui: That's amazing... You really are a gamer.

I've always thought that I have a talent for playing games ... but I'm not really good at that. If I'm given a game that's a little difficult, I get tired of it right away, and I'm not very good at trial and error. The range of things I can enjoy is very narrow.

I wonder if game developers around the world are also struggling with the question of "Should I make my games accessible to a wide range of people, even those who aren't particularly gamers?" or "Should I make games that are challenging and can be played deeply?" The same problem exists with manga, too.

When there's a game that I can't play well, I feel happy because it means the creator decided that there's no need to pander to people who can't keep up.

-- By the way, when you play games, do you do it as a normal "hobby"? Or do you play more often to find material for your manga?

Kui: Of course, a big part of it is that I play games as a hobby, but it is alleviated by the fact that playing games might be useful for my work (laughs).

Even if I'm not that interested in a game, if I think "it might be useful for work," I'll find the courage to buy it, and no matter how expensive a gaming PC is, I can still buy it if I think of it as a work tool. So the hurdles for many things related to games are lowered for the reason that it's "for work."

--So, when you read manga, do you feel like you're reading it for work?

Kui: In my case, manga has become my job, so when I read it I can't help but think of work.

However, I still enjoy gaming as a hobby . That's why I don't want to lose this hobby... and I don't think I'll be able to enjoy it as much if I get involved in games as a job, so I don't take on any games-related jobs.

Does the depth of the world come from the fact that it is "not decided"?

-- I heard in advance that "Dungeon Meshi" was written with a clear awareness of "what should be explained" and "what shouldn't be explained," so could you tell me more about that?

Kui: Having read a variety of fantasy novels and games, I thought that the "moment of discouragement" was the "repeated use of foreign words." When you write something like "XX of XX of XX," if there are three or more katakana characters, there is a high chance that it will be skipped over by Japanese readers.

That's why I try to refer to town names as "the neighboring town" whenever possible, and refer to characters who appear in flashbacks as "uncle" rather than by their full names, so that readers can understand without having needing exposition.

The magic used during battles in "Dungeon Meshi" is depicted in such a way that you can "understand what kind of magic it is just by looking at the picture."

-- What other aspects of Dungeon Meshi are there that you deliberately left out of its concrete settings?

Kui: Numbers and language are the settings I avoided touching. For example, just by deciding the month of birth, it is first determined that there is a moon in this world. From there, it is also determined that there is gravity.

What's more, just the concept of a "birthday" means that there is a division into a "year" and that the world is determined to have a 365-day cycle. It quickly becomes complicated.

But on the other hand, if I were to set the details and make it something like "This country's currency is 1 gold, which is worth 5 yen," it would be a burden on the reader. When reading the work, the reader would be forced to convert it into "1 gold = 5 yen" in their minds every time. That's why I try to write it with "readability as a priority" as much as possible.

However, if you're creating a "fantasy" in the truest sense of the word, it would be better to create something that corresponds to that world's calendar or metric system in order to really immerse yourself in that world, so it's difficult to get the balance right...

-- I think that style of "deliberately not giving explanations" is quite amazing.

Hiroi: I think that 's definitely partly because "Dungeon Meshi" is a silly title.

The "mindset" of the reader is a little different...I think that from the very beginning, the reader is made to recognize that "this work isn't going to say anything too difficult."

Kui: Also, we had to give a bit of thought to coming up with the character names.

For example, the main characters in Wizardry are given names that correspond to their professions, such as "Warrior" or "Wizard." The "Senshi" in Dungeon Meshi was taken from that ... I named him after thinking, "I want that person to play an active role."

That's why I wanted the overseas version of Senshi's name to be "Fighter", but I was worried that overseas readers would be like, "What does that mean...!?" so I kept it in my head.

--The character names in "Dungeon Meshi" tend to be around 3 or 4 letters long and fit nicely.

Kui: If the name gets too long, it won't fit in the speech bubble...It's generally said that a line in a speech bubble should be about 7 to 8 characters long to be easy to read.

So "Chillchuck" is really long... I actually thought that the abbreviation "Chill" could be used more, so I named it that way, but it didn't work out so well, so in the end I just kept calling it "Chillchuck". Even I was thinking "that's long" while drawing it (laughs).

Everyone: (laughs).

Kui: Anyway, there are quite a few manga-like circumstances where "maybe four characters would be enough."

--By the way, are there any rules for naming the characters in "Dungeon Meshi"?

Kui: It's not detailed, but there are "settings within the story" and "meta-settings that are just for my own enjoyment."

For example, [if Dungeon Meshi was a game] the Shuro party has names that would be given by a certain type of player. When playing a games, some people give their characters themed names that follow self-imposed rules. In that sense, meta-wise, the Shuro party is played by a player who names their characters with a plant-based restriction.

Also, since the player likes girls, the party members are all girls, and so on... (laughs).

Hiroi: Oh, I didn't know that!

Kuon: ...While it's fun for myself, I also create characters by asking questions like, "Why is the party mainly made up of women?" or "Why do they all have similar names?"

However, even if I revealed these settings in the story, it wouldn't have made the story any more interesting, so they are merely "settings that only exist in my own mind."

-- What are some specific examples of "settings that you deliberately didn't reveal"?

Hiroi: I still remember when I said, "I want you to depict the elven kingdom in more detail," Kui replied, "That's going too far."

The dwarven country was depicted quite a bit, so I personally thought it could have been shown a little more...

Kui: I felt that if I depicted that, it would limit the reader's imagination.

There are definitely "lines that suggest something might happen," and when it comes to parts that are better left to the reader's imagination, I often choose not to draw them.

Also, even when we present settings that readers think they can just skim through, they often try hard to remember them...

It all started with the manga "Eating soba through your nose."

--Let's go back to the topic a little. How did Ms. Kui and Mr. Hiroi meet?

Hiroi: I think we scouted her.

I saw a short story that Kui had posted on Pixiv and sent him an email asking if I would like to draw a manga. I remember that he had a really funny four-frame manga called "Eating soba noodles through your nose ." It was about a character eating soba noodles through his nose and crying out in pain... I think I was drawn to his drawing ability, which made me feel like "Wow, that looks painful" when I saw it (laughs).

And from that point on, we have come to this point.

[This may not be the exact comic that Hiroi is talking about, but it's a comic Kui posted on her blog about someone eating soba through their nose.]

Kui: Oh, is that so? Isn't it something like "Shugaku Tenshi" [※4] ?

Hiroi: No, that's not true! The manga about eating soba noodles through the nose was made before "Shingaku Tenshi". By the way, that manga was planned to be published in "Rakugakihon" , but when I asked Kui-san "Can I publish this?", she was very against it...

Kui: No, that's fine, but... I didn't think other people would find it that interesting.

Everyone: (laughs).

Hiroi: But that was more than 10 years ago...

--By the way, was Mr. Hiroi the first publisher to contact you?

Kui: Before that, an editor at East Press had contacted me. I was originally publishing fantasy manga that I had drawn as a hobby on my personal website. I compiled them into a self-published original comic and exhibited it at Comitia, and they asked me, "Would you like to publish this long manga as a book?"

However, after the editor asked around to various people, it seems he was told that "this will be hard to sell"... so the plan was dropped. Instead, it was decided to release a "short story collection" of short manga that had been published at the same time . This is "The Dragon's School is on the Mountain: A Collection of Works by Ryoko Kui" published by East Press.

I was contacted by a few other people as well, but the two people I still keep in contact with are Mr. Hiroi and the editor at East Press.

-- When you went from drawing short stories and web comics to starting a commercial serialization, did you study anything like "how to draw a serialized work"?

Kui: I learned almost everything about how to draw manga from Mr. Hiroi and the editors and writers at Harta .

I had absolutely no understanding of whether panel layout was good or bad, so up until the middle of the serialization, I would rearrange the storyboards one panel at a time, and I would get lectured like "Don't put a panel like this here."

I was also impressed when I was shown original manuscripts by other artists. They look beautiful in print, but the real thing is even more impressive. This is what it means to be good at drawing manga.

It didn't finish as I expected

-- Speaking of "serialization," you mentioned earlier that you initially intended to end it at about volume 5. Did "Dungeon Meshi" continue longer than you had anticipated, Ms. Kui?

Kui: First of all, I didn't really understand what a "serialized" comic meant, so I didn't even know how much of a story I could get done in how many pages. So, I thought I could wrap up the story nicely in about five years, in five volumes.

But I never quite got around to finishing it. It was so hard... (laughs).

Hiroi: To be honest, when I first heard "Volume 5,"I thought to myself, "(Are you kidding me...?)" I didn't say it out loud though (laughs).

--Honestly, even as a reader, around the time of the fight with the Red Dragon in volumes 4 and 5 I was starting to feel like, "Huh? It seems like it's coming to an end soon..."

Kui: From the beginning, my goal was to "defeat the Red Dragon at the halfway point." However, I was supposed to fight the Red Dragon in Volume 4, even though it was supposed to be 5 volumes. So I thought, "Huh? It's not over yet," and I gradually lost interest.

By the time I got to around volume 10, I felt like no matter how much I drew, it would never end. I didn't want to drag it out, but no matter how much I drew, it just never seemed to finish.

Hiroi: Even from an editor's perspective, it seemed like Kui was getting very anxious from around volume 10 onwards.

-- Having finished the long-running serialization of "Dungeon Meshi," did you experience any changes in your mindset?

Kui: I think it was great to have the experience of learning that it would take 10 years to draw a story of this scale. And when I think about my lifespan and how many more works I can draw... it makes me dizzy.

Hiroi: I feel like I'm constantly fainting...

-- Ms. Kui, are there still any works you want to draw in your mind?

Kui: Not that much. But I love drawing manga, so I want to draw a lot. I don't know if I'll have the stamina to continue for another 10 volumes, but I want to continue working as a manga artist somehow.

But maybe... I don't think it will sell that well next time...

Hiroi: Stop! Don't say that!

Everyone: (laughs).

Kui: In that respect, "Dungeon Meshi" sold well, so I was able to draw what I had imagined to the end. Next time, I think it would be better to consider the opposite scenario of "if it doesn't sell" and make it shorter.

That's the next new challenge.

-- In addition to the expectations for your next work, do you feel any pressure?

Kui: In my case, the first collection of short stories I published was fairly well received. For a manga I drew for the first time, that's about it.

That was a relief, but at the same time, I felt that "Ideally, the reputation of my next work will also steadily increase, but there will definitely be ups and downs." If the reputation of the next work is bad, will I be able to continue drawing without getting discouraged? I realized that the "battle with myself" had just begun , and I was terrified when I read the first volume.

What game has cute illustrations, in your opinion?

Kui: This is a completely different topic, but you 've played SaGa Frontier 2 , haven't you? Aren't the pixel art in SaGa Frontier 2 really cute?

--The pixel art in SaGa Frontier 2 is...the best!

Kui: The illustrations in "SaGa Frontier 2" have such exquisite balance... if you try to express that in a picture, you can't reproduce that cuteness. It's like "exquisite head-to-body ratio."

-- In your opinion, Ms. Kui, are there any games that have cute illustrations?

Kui: The first one that comes to mind is definitely SaGa Frontier 2. Also, I still remember how cute the character designs were in Final Fantasy Tactics.

But back in the day, I used to trace characters from FF7 . I thought, "There are so many cool designs in the world..." (laughs).

Hiroi: Nomura (Tetsuya)'s drawings are amazing, aren't they?

Kui: I traced Cloud and Aerith on tracing paper and quietly said to myself, "So cool..." and got really excited. I noticed something while I was working on the "Dungeon Meshi" anime...basically, games and anime are made by many people, aren't they? So I always thought, "Many people must be giving various opinions to make them."

But when I got involved, I realized that one person's power is quite large. This was quite surprising. I thought that there were multiple people who wrote the script and storyboards, and that each person had their own responsibility, but... the power of one person is quite large.

──No matter how much the work is divided up, it's important to have a director or supervisor who brings it all together.

Kui: Yes, in the end, it depends on the power of the person who takes the lead ...

However, at the same time, I think that the division of labor between scriptwriting and storyboarding is something that would never be possible with manga. In the end, you have to create everything in one person's mind, so "bias" inevitably arises. So personally, I don't like the idea of ​​it becoming a "world created in one person's mind."

Hiroi: However, not only in manga but also in novels, the individual author's personality is strongly expressed. I wouldn't go so far as to say "ideology"... but the person's way of thinking is strongly expressed.

Kui: Speaking of which, people who create games alone, such as indie games, are amazing.

It's often said that manga artists "come up with everything, from the art to the story, all by themselves," but I don't think they can compete with independent game creators who create the music, programming, and art all by themselves.

Moreover, even more than manga, no one can give their opinion until the game is completed. If you think about it that way, making a game by yourself is really a "one-man battle." At the same time, what I like about games is that there are quite a few "works that are not made with much consideration for cost" ... I enjoy it a little bit.

-- Do you ever think, "I want to make a game?"

Kui: I once bought RPG Maker , but it ended up being a complete failure... (laughs).

Everyone: (laughs).

Love for "classic RPGs" was a major influence on "Dungeon Meshi"

-- I'd like to ask you, Ms. Kui, since you play a lot of titles on Steam and other platforms, have you ever had any problems playing a game?

Kui: Simply put, a "game that doesn't work" is a problem (laughs).

This sometimes happens with games made by individuals on Steam... they don't have any reviews, so there's no way to deal with it other than contacting them directly. There have been a few times when I've been stuck and wondered, "What should I do?"

Other times, I'll buy a title that just happens to pop up at the top of Steam's rankings. Sometimes I'll play it thinking, "The graphics are kind of cute, so I'll give it a try," only to find that it's incomplete beyond the framework.

--So now people are playing titles that aren't that major.

Kui: Also, when I played Planescape: Torment, which is said to have influenced Disco Elysium.

While playing, I came across a character who was suffering from a terrible curse that made his whole body smell and become sticky. A quest was triggered to ask the NPC who had cast the curse to lift it, but when I asked them to lift the curse, I ended up being cursed with a curse that made me have constant hiccups ...

So when I was walking around the town, the "hiccup" dialogue started popping up all the time. What's more, every time it happened, I would freeze up for about 0.1 seconds. All the dialogue was filled with "hiccups." Anyway, it was a troubling curse.

I had no idea how to deal with this either, so I decided to just kill the NPC who had put the curse on me. The NPC also challenged me by saying, "Maybe if you kill me, the curse will be lifted?", so I tried killing him, but... it didn't lift the curse at all (laughs).

Everyone: (laughs).

Kui: I thought maybe the quest would progress in other places, so I walked around here and there, but the curse was not lifted after all. I was really curious, so I looked back at overseas information exchange thread online, and I found someone had written a lecture that said "You know what happens if you kill an important NPC without thinking about it, right?"

So I realized that this curse can never be lifted again. Even if I wanted to rewind, it was an auto-save, so I had to go back almost to the beginning... I was really... in trouble!

-- But "Planescape: Torment" hits a pretty impressive spot. Was it something that just happened to catch your eye while you were browsing Steam?

Kui: I originally liked games in the same genre as Baldur's Gate, so I think that's how I got into Planescape.

Also, I saw information that a huge amount of text in Planescape was translated by one person... I'm not very good at English, and games like Planescape have a lot of text to begin with, so I'm at a loss if it's not translated into Japanese .

However, when extraordinary people like those who make Planescape use their precious time from their lives to accomplish great things, I feel very grateful.

-- So, Ms. Kui, do you prefer games that are closer to the classics?

Kui: That's right. The first game I played was The Elder Scrolls V: Skyrim, and it was so much fun that I searched for "games similar to Skyrim" and played a lot of the games that came up.

All of them were completely different games from Skyrim, but they were fun. However, I don't like "old games". I think that newer games are generally more polished and well-made.

-- Wizardry, which influenced Dungeon Meshi, is also a classic work.

Kui: When I was a child, I saw my father playing Wizardry V : The Heart of the Maelstrom. As time passed, I remembered that there was a game called Wizardry. The game I played at that time was Wizardry VI: Forbidden Pencil.

I also played Wizardry V , but it was hard to see the map unless I chanted a spell. I was directionally challenged, so even though I had a guidebook at hand, I couldn't progress.

--By the way, were you more interested in making a manga out of "Wizardry" than the tabletop RPG "D&D" ?

Kui: When I was researching fantasy, "D&D" was often mentioned... but I had never even heard of "TRPG" before. First of all, you can't play it without friends, and I was shocked to find out that lots of people have friends they can play with like this...!?

Everyone: (laughs).

Kui: So when I looked up TRPGs on Wikipedia, I couldn't imagine that people actually played this kind of game. I was more confused and thought, "How can people really role-play in front of other people?"

After that, I watched replay videos on YouTube and it was only then that I understood how games like D&D worked.

Games, manga, novels. What is the purpose of all creative works?

-- What was the last game you played?

Kui: Recently I played a school management game called "Let's School." It's made by a Chinese company that also made "My Time at Sandrock."

Hiroi: You really like that kind of game, don't you? (laughs) Oh? Haven't you played "FF7 Rebirth" ?

Kui: I'm thinking about playing the remake of FF7 once it's completed.

Hiroi: No, no, if we don't do it now, we'll never finish it! It'll be a long time before we do it!

--Honestly, I also thought it would take about 10 years for FF7 Rebirth to be released.

Hiroi: I thought it would take about that long too... I really wanted it to be completed while I could still see. So, please do it!

Kui: Once it's finished...I want to play it all at once (laughs).

--Do you and Ms. Kui often talk about games?

Hiroi: Ms. Kui sometimes says, "I want to talk about this game, so I want you to play it." I played "Red Dead Redemption" because of that. Also, a long time ago, Ms. Kui recommended "13 Sentinels: Aegis Rim."

Kui: Whenever there's a game I want to discuss with someone, I always recommend it to Hiroi.

But maybe I haven't been playing games as much lately. Until now, I've been playing games because I thought of it as "for work," but now that the serialization of Dungeon Meshi has ended, I've been playing less games.

Moreover, I'm not the type of person who gets that into one game...I don't generally play through a game in repeated playthroughs, and I'm usually satisfied once I've finished the story.

Hiroi: Then we have to start [a new ] serialization soon.

Everyone: (laughs).

-- I'd like to ask you personally, do you have any "recommended indie games"?

Kui: I highly recommend "Papers, Please" and "Return of the Obra Dinn."

First of all, "Papers, Please" is a simple "spot the difference" game, so I didn't have high expectations at first. But when I played it, I felt like there was a proper "world" to it . Also, I was curious to see how the story continued.

And "Return of the Obra Dinn" had a great atmosphere. There were hints to solving the puzzles if you looked closely, but there was also a good balance of being able to force your way through, and the music and production were cool.

Hiroi: Come to think of it, you read quite a bit of the novel after the serialization ended, didn't you?

Kui: Ah, you mean "1984" by George Orwell? That was good...

I've always thought that creativity isn't necessary for life... It's entertainment, so it's not essential to life. But after reading "1984," I thought, "I guess creativity is necessary after all."

Humans need stories to experience things that should never come true, to prepare for bad things, and to prepare for understanding other people... You might think, "You should have already learned that when you were younger," but I was deeply moved by this realization.

Anyway, I feel that it would be great if people could learn things they didn't know before through this work.

Hiroi: ...Overall, it just felt like we had a fun time talking about games (laughs).

Kui: We just used the interview as an excuse to talk about the game (laughs).

-- No no, thank you very much for sharing your valuable story! (End)

I think I can understand a little bit about being interested in things you hate.

It's easy to analyze "why do you like something?" when you like it, but it's surprisingly difficult to analyze "why do you dislike something?" When you understand the reason, it seems that "why do you dislike it" is often more meaningful.

Perhaps creative works exist in part to help us understand the things we dislike.

I was able to hear a lot of deep "creation stories" that made me think about such things. Also, Ms. Kui is a huge gamer. Mr. Hiroi also likes games quite a bit. Since serious talk and game discussions alternated, the content may have been emotionally confusing. But I feel like "Dungeon Meshi" has a similar atmosphere.

If you haven't read "Dungeon Meshi," please take this opportunity to read it. It depicts a fun adventure. On top of that, it may help you prepare for difficult things that might happen in your life someday. Of course, it's also extremely interesting as a manga. I think it's definitely one of the best "entertainment" of our time.

Why does the body want to live? What does the mind want?

This is because we have a "desire" to pursue what we like and dislike. In fact, "things we dislike" are just as important as "things we like." By understanding our own "likes and dislikes" through creative works and entertainment, humans can prepare for things that happen in their future lives. Food and creative works are equally important for human growth.

...That said, I'm not sure if it has a nice punchline, or maybe not.

To eat. To experience creative works. These are truly the privileges of life. In order to live, we must continue to eat.

Now it's time to eat. What shall we eat today?

[pi-slices]

10 Years, Every Day! - 240405

As of today, it has been exactly 10 years since I started creating and sharing a 3D animated GIF artwork every single day!

I originally began learning 3D and making GIFs after being inspired by many of the digital artists I had started to find on Tumblr back in 2013. When I decided to start making a GIF every day in April 2014, with very little prior art experience, I never could have imagined that I would still be here doing it 10 years later.

I'm incredibly grateful for everyone who has stuck around and supported my work in any way over the last decade. Likewise, I also have to thank everyone I've had the chance to work or collaborate with over the duration of this project! This has been a huge learning experience, and I am very proud of how far things have come.

To the best of my knowledge, I am the first artist to complete 10 years of daily GIFs, but I have to give major props to the other artists that I know of who paved the way and passed this milestone before me in their respective mediums: @songadaymann / @catswilleatyou / @beeple / @graebor / @rawandrendered

With that being said, after a lot of contemplation, I have decided that today will mark the completion of my daily GIF project. I have no plans to stop creating and sharing my art, but after 10 years of pushing to have an animation done every single day, it's time for a change of pace.

There are still so many things I want to learn, and now feels like the right time to give myself the room to explore and give it a try.

Thank you again for the support. I'm excited to see what the future holds.

- pi

[dadvans]

my favorite line in the entire bucktommy saga is maddie's reading of "wait, it's the same tommy?" because at that point you know this girl has been THROUGH IT way too many times in a short period, like:

her soon-to-be husband comes home. he just fake called out sick from work to fly into a hurricane with his closest coworkers, her disaster-prone brother she mostly raised included, to save his boss and his wife. he tells her all about it, adrenaline still pumping the day after he comes back from the COAST OF MEXICO, and is like, no, it's fine! see, my old co-worker tommy works in air ops and I saved his life once, and we used to be super tight--[insert 10 minute off-topic backstory about how tommy used to be a jackass but now he's different here]--until he moved away, and funny enough, buck was the guy who filled in for him? anyways, tommy's the coolest, we could've died but we didn't! how was your shift at dispatch, honey

her brother she pretty much raised comes over and also brings up this tommy guy. yeah, he's so cool! do you think it would be weird if i called him up and asked for a tour of harbor? he just seemed like a neat guy, i want to be his friend, you think chim would put in a good word for me?

her brother she pretty much raised comes over AGAIN and is like, okay FUCK this tommy guy, he's so cool and knows everyone and his meat is huge!!! my best friend likes him more than me and they're doing things without me and i'm so sad about this in a really abstract way, can i please have a bagel

her soon-to-be husband comes home in the middle of this and is like, yeah he's cool and knows everyone and his meat is definitely huge. LOVE that guy!

her brother she pretty much raised shows up at her workplace and is like, remember how i was experiencing jealous thoughts and feelings because the coolest guy i've ever met with the biggest meat isn't paying attention to me and is new besties with my best friend? i may have caused bodily harm about this and yes i did involve your almost husband as a co-conspirator

approximately 2-to-3 business days pass where she experiences quiet. maybe too much quiet

her brother she pretty much raised comes over for a fourth time and is like, i lied to my best friend who i was just telling you i was angry at and s l i g h t l y injured because he kept hanging out with this other guy i was trying to hang out with and totally unrelated but i went on this date with someone and lied to my best friend about it and oh yeah it's the same guy but that is so besides the point it's not even worth mentioning

justice for maddie