#milkland

[ryuucafe]

ミルクランド＠自由が丘

[art-institut]

MILK LAND 自由ヶ丘 #milkland #自由ヶ丘 #cafe https://www.instagram.com/p/Ckf3ZvoyW1A/?igshid=NGJjMDIxMWI=

[tuphup]

Unfortunately I find his character sad and funny which means I will draw him, bastard that he is. also pathetic

[hom3land3r]

Milklander🥛

[homenecromancer]

[This post is a reprint of an interview with NaRae Lee conducted at San Diego Comic Con 2009, by Deb Aoki for about.com. I have removed web links so that this post will hopefully appear in tags -- please click the source link if you want to click and see, like, archived versions of Yen Press's website.]

Interview: NaRae Lee

Manhwa artist for James Patterson's Maximum Ride

By Deb Aoki, About.com

To celebrate the first birthday of Yen Plus magazine, Yen Press invited Korean comics artist NaRae Lee as their special guest at San Diego Comic-Con 2009. Lee is the artist behind the graphic novel adaptation of James Patterson's bestselling Maximum Ride novels for young adults that is currently being serialized monthly in the pages of Yen Plus.

Discovered by Yen Press Senior Editor JuYoun Lee, NaRae was able to make her U.S. debut working on a series that already had legions of devoted fans. It's a lot to live up to, but NaRae proved to be up to the challenge by delivering artwork that looks remarkably polished for a relative newbie to the world of international manga publishing.

This visit to San Diego was NaRae's first visit to the United States, and unfortunately, the trip from Korea to Southern California wasn't an easy one for her. The effects of jet-lag took their toll on the petite yet hard-working artist, which forced Yen Press to cancel her first planned autograph session on Friday afternoon. NaRae did manage to make it to the convention center to meet her fans on Saturday afternoon, which is when I caught up with her to ask a few questions.

NaRae tends to draw herself as a pudgy, chibi character in her artist's notes in Yen Plus, but in reality, she's a slender, shy and soft-spoken young woman who seemed somewhat surprised to see the line of fans who came to meet her and get her autograph. Yen Press Senior Editor JuYoun Lee kindly translated our conversation.

Q: Welcome to San Diego Comic-Con. It's great to have you here.

NaRae Lee: I'm happy to be here too.

Q: Did you see anything in the Exhibit Hall that you thought was really exciting and cool?

NaRae Lee: I've been sick (since I got to San Diego from Korea), so this is actually the first time that I've been to the convention center.

Q: Ah, too bad. I hope you get to see more of it over the next two days. When you got the call to do Maximum Ride, had you heard of the books before?

NaRae Lee: I didn’t know about them at first.

Q: What were your impressions when you read the script? Did anything strike you in particular that made you think, 'Wow, I should work on this project?'

NaRae Lee: I liked the characters a lot. They each had their own distinctive characteristics and personalities, so that was the big appeal for me.

Q: Which is your favorite character to draw?

NaRae Lee: Character-wise, my favorite is Iggy, but when I'm drawing I enjoy drawing Max the most.

Q: Why is that?

NaRae Lee: The way I'm drawing the character is like a lot of my taste, so I likes how the eyes and the clothes she wears came out. I'm enjoying drawing her very much.

Q: I was really impressed when I first saw your art for Maximum Ride. It's very accomplished, very professional-looking, and it reads very nicely. Is this your first long series?

NaRae Lee: Thank you. Yes, it's my first major series.

Q: Has it been an adjustment creating a new chapter on a monthly schedule?

NaRae Lee: It’s been tough.

Q: Do you have time to do other things, like draw your own manga stories?

NaRae Lee: I also have my own story, a manga that is currently being published in a Korean anthology. That also has a monthly deadline. That one is fortunately only eight pages a month, but still, because I'm juggling the two deadlines I've been having a tough time.

Q: What is the title and what is it about?

NaRae Lee: It’s called Sweetie Milky Propose and it’s for younger girls. It’s like a comedy, also has a bit of a romance going on. It's about four fairies from Milkland coming into the human world to find their princess, who doesn’t know she is a princess. It's very funny.

Q: That sounds cute -- I hope to see it some time! So how did you and JuYoun (Lee, Senior Editor of Yen Press) find each other?

NaRae Lee: (turns to JuYoun) You would know better about that!

JuYoun Lee:Well, there is like an anthology that her school puts out. I saw her like short story there and I immediately liked her art style. I thought she would be perfect for Maximum Ride, so I contacted her.

Q: Ah wow, so straight from college. So how long have you been drawing manga?

NaRae Lee: I've been drawing since I was in like fourth or fifth grade in elementary school. I also went to an animation high school, not just college, so I've been drawing for a long time.

Q: So what is the curriculum like at an animation university? Is it like mostly animation classes or is it like animation and regular school subjects?

NaRae Lee: Well, the college I go to is a manga college and my high school specialized in animation. You can also major in manga at the animation high school as well.

Q: So now that you've devoted so much of your life to drawing, what do you think is your greatest strength as an artist and what is the hardest thing for you to do?

NaRae Lee: I can’t really pinpoint my strong point because I think I'm still a newbie. So maybe the fact that I have lots of possibilities in front of me might be my strongest point.

The toughest thing that I have to deal with as I draw Maximum Ride is that the story is set in the States and this is literally my first chance I've had to visit North America. Because I'm based in Korea, it's tough to find all the reference photos and trying to imagine like (the various locations described in the script) is going to look like. This has been the hardest thing.

Q: Have you met Mr. Patterson? Have you talked with him?

NaRae Lee: (shakes her head) Ah, no. Not yet.

Q: Ah, too bad. Maybe sometime on your next visit to the U.S. Okay, so I know your fans who are for your autograph session are eager to talk to you, but do you have a special message for the fans who couldn’t join you here today?

NaRae Lee: Thank you very much for reading the books.

[wawerrell]

Thinking about MLK

In his sixth thesis on The Philosophy of History, Walter Benjamin warns of violent conformists “overpowering” history and transforming it into yet another “tool of the ruling class”; the only successful historian, Benjamin prophesies, is that one “who is firmly convinced that even the dead will not be safe” from such enemies. But the Martin Luther King, Jr. — murdered at the hands of a vicious white supremacist, a man who enacted the silent wish of so many — whom we resurrect on the third Monday in January each year is too often a tool of the very same interests he spoke against: those who would disenfranchise our neighbors and cordon off our democracy, those who dream of a government only big enough to take care of the wealthy. It is important to remember every day, but especially today, that King was not a carefully curated collection of politically palatable quotations, not an anodyne activist who spoke dreamingly of a colorblind America. King and his legacy do not belong to the conformists.

King was a radical.

In her elegy In Memoriam: Martin Luther King, Jr, June Jordan makes the appropriately radical decision to abjure punctuation and traditional form; instead, her words slip, spill, and drip down the page:

honey people murder mercy U.S.A.

the milkland turn to monsters teach

to kill to violate pull down destroy

the weakly freedom growing fruit

from being born

America

tomorrow yesterday rip rape

exacerbate despoil disfigure

crazy running threat the

deadly thrall

appall belief dispel

the wildlife burn the breast

the onward tongue

the outward hand

deform the normal rainy

riot sunshine shelter wreck

of darkness derogate

delimit blank

explode deprive

assassinate and batten up

like bullets fatten up

the raving greed

reactivate a springtime

terrorizing

death by men by more

than you or I can

STOP

They sleep who know a regulated place

or pulse or tide or changing sky

according to some universal  

stage direction obvious  

like shorewashed shells

we share an afternoon of mourning  

in between no next predictable

except for wild reversal hearse rehearsal  

bleach the blacklong lunging

ritual of fright insanity and more

deplorable abortion

more and

more

Blake wrote that “to create a little flower is the labour of ages,” but here, that labor is violently interrupted: Americans are taught to become monsters and to rip out the “freedom growing fruit” by the stem while it is weak, before it can ripen. In a perversion of growth, “rip” is permitted the fertile soil, light, and warmth to blossom into “rape” and “exacerbate.” The fruit is spoiled, humans are despoiled, and, as chaos and hatred rush exhaustingly rush down the stanzas, rest comes not for the wicked, but the privileged: those who know their place amid the universe’s “stage direction[s],” those for whom the world is rightside-up, those for whom a traffic stop is not a death sentence. All that is left, then, is a sleepless and never-ending “afternoon of mourning,” a dress rehearsal for death.

Today, I linger especially on a single line from the poem, a chasmically tragic sentiment: “no next predictable / except for wild reversal.” The only constant, Jordan writes, is vertiginous upheaval: the likelihood that one might, one April night, speak out about the dignity of labor and, the next day, bleed out on a motel balcony. But Jordan reminds us that these are, to misquote Hamlet, “the slings and arrows” not of outrageous fortune but of daily life.

Just a few days before King was shot and killed, the April issue of Esquire hit newsstands. For the cover, Carl Fischer, with direction from George Lois, styled and photographed Muhammad Ali as St. Sebastian:

Here, before the assassination, those “slings and arrows” are literalized. Reactionary racial, religious, and political abuses — pro-Black, Islam, and Vietnam — penetrate the heavyweight; his face, not so much a rictus of agony as it is a plea, fades backward into the horizontal plane. Just as those arrows converge on their target, tools of violence and destruction intersecting with Black flesh, so, too, does this photograph represent a convergence of identities and discrimination.

“I am reaching for the words to describe the difference between a common identity that has been imposed,” Jordan, who was a bisexual, writes in Report from the Bahamas, “and the individual identity any one of us will choose, once she gains that chance.” Those dual, dueling identities strike at the heart of Jordan’s works, of life in the liminal space between harmony and honesty, between fidelity and conformity — a pained existence that Walt Whitman, in an early “Calamus” poem, describes as finding a balance between the true “soul” and “the life that exhibits itself” — and are made manifest in this magazine cover.

St. Sebastian — whose feast day is this Friday — has long been considered a gay saint. While Freudian critics and readers might find this genesis primarily in the role penetration plays in St. Sebastian’s martyrdom, more basically St. Sebastian was a man with a secret: he was, behind closed doors and despite the wishes of his employer, his colleagues, his friends, and his neighbors, someone or something different, a worshipper of Jesus Christ. Upon turning away from “the life that exhibits itself” and revealing his “soul,” so to speak, St. Sebastian was tortured, suffered, and then was killed. One might see this affinity in Oscar Wilde’s pseudonym, “Mr. Sebastian Melmoth,” and throughout the oeuvre of, to name a few, Marsden Hartley, Jasper Johns, and Andy Warhol, whose piece Where is Your Rupture? is below.

Like King, Jordan recognizes that, despite so many of the oppressed’s sharing a common enemy, too many toil in solitude rather than in solidarity: “As long as there are [queer] Americans who view sexuality as the first and last defining facet of their existence, and who, therefore, do not defend immigrants against the savagery of xenophobic hatred, as long as there are [queer] Americans who view sexuality as the first and last defining fact of their lives, then for that long I am not one with you and you are not one with me.”

Benjamin closes his sixth thesis by writing that “this enemy [who would conquer and coopt the dead] has not ceased to be victorious.” If there is a colorblind aspect of King’s dream for America, it is colorblind only insofar as it is a vision of harmonious collaboration in dismantling oppression: the only way to defeat the enemy is through intersectional solidarity.

[keychro]

自由が丘で北海道 (ミルクランド北海道 Milkland Hokkaido→tokyo 東京・自由が丘) https://www.instagram.com/p/CnJcApsvzcS/?igshid=NGJjMDIxMWI=

[bibariki]

期間限定のテイクアウト専門店 「MILKLAND HOKKAIDO → TOKYO」

会場施工をしました。

開催：2018年2月21日（水）-2018年3月11日（日） 時間：11:00-20:00（19:30LO） 場所：東京都渋谷区宇田川町13-9 KN渋谷2ビル1F-2F「n-space」 内装デザイン：南木隆助 CD/AD：瀬川浩樹 コピー：坂本愛 撮影：中野 幸英 内装施工：bibariki

[the222lifecreation]

ข้อมูลนักวิจัย

Albert Carson หัวหน้านักวิจัยแผนกเฝ้าติดตามและสังเกตการณ์

Kancia Mancoff ผู้ช่วยนักวิจัยแผนกเฝ้าติดตามและสังเกตการณ์

Elay Wellson หัวหน้านักวิจัยแผนกสภาพจิตใจและอาการทางจิต

Holly Milkland นักบำบัดด้านสุขภาพจิตและไลฟ์โค้ช

Hilluk Kruger หัวหน้านักทดลองและดัดแปลง LCE

Charlotte PetchNgam(ชาลอต เพชรงาม) ผู้ช่วยนักทดลองและดัดแปลง

[art-institut]

MILK LAND 自由ヶ丘 #milkland #自由ヶ丘 #cafe https://www.instagram.com/p/Ckf3MqqyUlM/?igshid=NGJjMDIxMWI=

[graphemus]

😵 Cause of hypoglycemia 😂 need some sweetie, 🦄Pony Sweety! 🌈 #milkland #thaidenmark #ponysweety #eevee #vaporeon #pokémon #pokémoncenter https://www.instagram.com/p/CETtxKxHv-p/?igshid=1ih7qxdrsr7zx

[monchan-tcs]

. ❁MILKLAND HOKKAIDO→TOKYO ❁スキレットのダブルクリームパンケーキ ¥1,200 北海道の酪農、北海道産の牛乳・乳製品の魅力を体験できるカフェが自由が丘にできてるー❤️ スフレパンケーキは、 真ん中がくり抜かれてて、2種のクリームで埋め尽くされてるの😋 特製チーズクリームと純生クリーム！ 美味しかったー❤️ あと何種もの牛乳から3種選んで飲み比べできるセット¥180もあったり、カルボナーラライスも美味しかった♪ 店内には大きな牛が🐄❗️ 外観から見るとよく分かるかな？お店出るときに1階と2階で牛が繋がってるのに気づいたよwww #パンケーキ #pancake #pancakes #cafestagram #foodstagram #gourmet #sweets #カフェ好きな人と繋がりたい #milkland #ミルクランド #自由が丘カフェ #グルメ #東京カフェ #北海道の魅力 #牛乳 #カルボナーラ #今年は痩せる https://www.instagram.com/p/Bw8RPq-Frei/?utm_source=ig_tumblr_share&igshid=rfwihs90z51v

[hom3land3r]

Milklander?

Are you addressing me as Milklander? Because if so, then…yes? …Hello?

But if you’re asking if you can milk me, then I think you might have a very annoyed vampire on your case who’ll have a few things to say about that.

[acchan777]

Enjoying Pancake in the rainy Sunday evening… 雨の日曜日ですが散歩がてらミルクランドでパンケーキを🥞 ヨーグルトの酸味が効いててそんなに甘くもなく美味しかったです😁 #PanCakes #パンケーキ #MilkLand (at ミルクランド北海道 Milkland Hokkaido→tokyo 東京・自由が丘) https://www.instagram.com/p/CZ6GtncBf4y/?utm_medium=tumblr

[fulfill-jp]

北海道っぽいでしょ。車を停めて移せば良かったと後悔。 #japan #hokkaido #別海町 #上春別 #国道272号線 #sunset #牧場 #milkland (Notsuke-gun, Hokkaido, Japan) https://www.instagram.com/p/CIJmNM6Jhdc/?igshid=18by110b9x6zc

[surasitton]

#ของหวาน #วันจันทร์ 😋 #นมอัญชันเย็น 🥤 @ #milkland #รามคำแหง51 🐄 (ที่ Thai-Denmark Milkland51 ถนนหน้ารามคำแหง) https://www.instagram.com/p/B5kWm4THeFYnbMdaxUx3NP42uv1QDKAZPmqfNk0/?igshid=1vs3y1injmpd6