sma24 swa1 sma24
Manga Nutcracker #16 – Tokyo Ghoul    Tokyo Ghoul By Sui Ishida Published by Shueisha in Weekly Young Jump Original run September 8, 2011 – September 18, 2014      

“ A normal college student is accidentaly turned into a half-ghoul,  condemned to surviving on human flesh, he must juggle his previous life with the new the new fate that he was thrown into”

          Have you ever wonder what it would be like if you woke up with an incurable disease? A disease that you know would repel everyone you knew? Well, this is exactly what happened to Tokyo Ghoul’s protagonist, Ken Kaneki.   What was supposed to be a romantic date, suddenly turns into a blood soaked survival story with the discovery that his crush is actually a Ghoul. And she’s hungry! In a world where humans are regularly used as a snack by the ever hungry Ghouls, Kaneki never expected to be the next meal!   Rushed to the hospital in a critical condition, the doctors work furiously on Kaneki, resorting to an organ transplant in an effort to save his life. Little did they know, the organs they use to transplant were those of a Ghoul where the unknowingly transformed Kaneki in the first half-human/half-ghoul hybrid!   Can this young college student ever return to his former life? How will he adapt to the new challenges of his condition? Will he ever be able to balance two very different worlds?    
NUTCRACKING TIME
  I want to be The Hokage! No, I want to be the Pirate King! No, I want to protect !…maybe   Tokyo Ghoul immediately begins with an “everyday” type character, thrown into an extraordinary situation, with the resultant acceptance of his new fate.     A huge departure from typical manga, where we are introduced to a protagonist and his/her goal, Kaneki’s story begins when he is struck by tragedy, followed his ability to adapt to the grotesque world he now finds himself in, while holding onto his last vestiges of humanity.   Confused and revolted, Kaneki at first rejects his new reality and refuses to acknowledge his new fate. This state of confusion is finally resolved when he discovers that his friend is in danger, marking a huge a change in the character.   Tokyo Ghoul is a wonderful example of tension building, ensuring you keep turning the page. The questions the story raises as it moves forward with Kaneki’s role in juggling both his human life and his new Ghoulish reality, is another driving force in this manga. Peppered with gruesome action, Tokyo Ghoul takes survival horror genres and brilliantly flips it on its head – gruesomely entertaining!        

 “Is so unfair! He didn’t wished for any of it! I would be scared and frustrated as well! “

            Was this article helpful ? Do know of other characters like Kaneki ? Would love to hear your thoughts so follow me on Twitter – @SmacViVi Facebook – Vivi Fabbri Smac Don’t forget to use the #manganutcracker  
SMAC! MANGA DOJO #11 – "Think WILD, Explain CONVINCINGLY!" <Characters> Penmaru Is a ninja dog who dreams of becoming the greatest manga creator in the animal world. To help achieve his dream, Mocchi gives him a mission… “Learn how to create manga at the Manga Dojo.” His childhood dream was “a manga hero!” “Shihan” Manga Master The master of the dojo and Penmaru’s tutor in the ways of manga. An experienced editor who had worked in the manga industry for over 30 years. His childhood dream was “an Aiki-do champion!”   <Previously in Manga Dojo> “Interesting = A story with the potential to grow” Penmaru has learned yet another complicated concept from Shihan. But, after learning so much from Shihan’s valuable lessons, Penmaru is totally exhausted… As such, the two have decided to take a break and grab some dinner!  

Ep.11　Think WILD, Explain CONVINCINGLY!

  Maid-san Robot: OMU-RICE READY! OMU-RICE READY!!   Shihan: Ah, it seems the Maid-san is done preparing our dinner!   Penmaru: Yay! Omu-rice after all that hard work! Just what I needed!!   Penmaru: Got my tomato ketchup ready! Lemme see, what shall I draw……?   *Draw Draw…*   Shihan: Hahaha, not even dinner can stem your passion for drawing, huh Penmaru?   Penmaru: Of course! To be a pro manga creator, I gotta think about drawing all the time!   Shihan: That’s the spirit! Say, what’s that creature you just drew on your omelet? A gorilla?   Penmaru: Oh, Shihan! This isn’t a gorilla! It’s my original Kaiju, inspired by GODZILLA!!   Shihan: (Go……?) Ah, I see! Beg your pardon, hahahaha…… And, what kind of Kaiju is it?   Penmaru: This Kaiju is just awesome! You know Godzilla in the movies scatters radiation, right? Well, this is a Kaiju of justice, so it’s super eco-friendly! It even uses photosynthesis!   Shihan: Aha, that does indeed sound wonderful! Tell me, why and how does it do that exactly?   Penmaru: Why? How? Well…… because that’s the setting I imagined……?   Shihan: Hmm……I feel I must teach you another very important skill as a creator.   Shihan: Listen, Penmaru. For manga creators, there are some skills that are equally as important as your drawing skills.   Penmaru: ?? You mean, imagination? Or creativity??   Shihan: Yes, but there’s something more important. That is, the skill of “MAKING EXCUSES”!!   Penmaru: EXCUSES?   Penmaru:…… Oh Shihan!! Don’t be so negative! You can’t make excuses!! That’s not ethical!    Shihan: The word “excuse” may sound be a bit misleading, indeed. The thing is, you need the ability to “CREATE a logic that convinces the reader”.   Shihan: I told you the story about “the Wonderful Lie” and “the Seed of Ideas”, didn’t I?   Penmaru: Yes! You said, “A story needs an engaging idea, that makes the readers want to dig deeper, and ask ‘Why?'”!   Shihan: Correct. But, a seed of ideas is still merely a SEED at that point. To let the seed bud and blossom into a “Wonderful Lie”, you need a “plausible, convincing excuse”, and make the readers want to read more!   Penmaru: Is that so……?   Shihan: Penmaru, what was the criteria of an “Interesting” story, again?   Penmaru: “Interesting” is, “A story that can UNFOLD/EXPAND”, or “make someone ask ‘WHY?’ in a positive way” !   Shihan: Correct. Now, the keyword here is “WHY”. The readers are looking for an answer and, as their entertainer, it’s your job to SHOW them the answer. It’s as simple as that.   Penmaru: !!! I see!!   Shihan: For example, you may ask “What if you could make a person explode from the inside?” – The readers will naturally think, “How is that possible/ What made that happen!?”. However, if you can’t provide a satisfying answer to their questions, the readers won’t be interested in learning more, will they?   Penmaru: You’re right!   Shihan: So, you provide them with a “plausible, convincing excuse” – such as “When you press certain pressure points on a human’s body, it affects the ‘Qi’ flowing through him/her, which makes him/her explode”. Now, if THAT excuse can convince the readers, and make them feel entertained, then the idea has blossomed into a “Wonderful Lie”.   Penmaru: Ah, that’s the “understandable surprise” which Mocchi and Taiyo mentioned in the videos!   Shihan: Absolutely! You might get a better idea by looking at some other examples:
Why does Superman have supernatural powers? – Because he’s an alien! Why does Doraemon have lots of handy gadgets? – Because he’s a robot from the 22nd century! Why can the “Death Note” kill people? – Because it comes from the Shinigami (death god) world! Many dinosaurs living in a zoo…? How were they revived? – Because scientists cloned them from blood extracted from mosquitoes trapped in amber! Why is Luffy’s body rubbery, like it’s made out of gum? – Because he ate a Devil Fruit that changed his physical constitution!
  Penmaru: I see! Those examples momentarily make me think, “Ah, perhaps that could happen!?” whilst filling me with excitement and anticipation for what could happen next!   Shihan: Yes. And I must note, when you come to creating an excuse, it’s really important to NOT make it “TOO LOGICAL”.   Penmaru: Not too LOGICAL……? How come? Isn’t being logical a good thing?   Shihan: Any story has “plot holes” or “bad points” you can point out. Take Superman for example, you can always say things like “Just because he’s an alien, it doesn’t mean he can fly!” or “Does that planet even exist?”. Moreover, logic that makes too much sense does not give the readers the surprise or entertainment they are longing for…… Please always keep in mind that “Manga is a ‘Wonderful’ lie”.   Penmaru: Aha! After all manga itself is built on a lie, so the “possibility” doesn’t really matter, right?   Shihan: Yes. Having said that, a logical reason that doesn’t make sense to readers cannot rouse sympathy in them either. Even worse, you might just make them think you’re crazy! The important thing is to tell believable, yet entertaining lies that feel real to the readers. “THINK WILD, EXPLAIN CONVINCINGLY”, is how I put it.   Penmaru: So you mean like this……?
“WILD IDEA” “WILD EXCUSE” = Just crazy, not convincing/believable… “LOGICAL IDEA” “LOGICAL EXCUSE” = Too obvious, not entertaining…… “LOGICAL IDEA” “WILD EXCUSES” = Surprising, but might not click with readers…… “WILD IDEA” “LOGICAL EXCUSE” = Interesting, and understandable -> UNDERSTANDABLE SURPRISE!
  Shihan: Well understood, Penmaru! That is core of what I mean, yes.   Shihan: We can say that “Making excuses” is all about “expressing your logic”, rather than “explaining based on facts”. A logical idea, even if it is wild, is far more convincing than an idea without logic. Moreover, if you have a strong “excuse” established, it can give birth to even more new ideas. I strongly recommend you make a habit of “thinking of excuses” every opportunity you get!   Penmaru: Alright!!   Shihan: Now! Enough talking! Let’s have dinner!   Penmaru: Um, Shihan, about that……   Shihan: ???   Maid-san: CLEAN UP! CLEAN UP!   Penmaru: The maid robot has already cleaned the table, because the Omu-rice has gone cold while you were talking……   Shihan: Wha, whaaaaaaaaaat!?!?!?!?!?   Penmaru: Shihan……I promise I won’t be selfish anymore, so… what say we tidy away that robot, too……?   Shihan: A convincing idea indeed…… I agree……   Maid-san: TIDY AWAY! TIDY AWAY!!   And thus, the Maid-san robot’s fate has been sealed…… Yet the fate of Penmaru’s journey is still nowhere in sight!! Ganbare, Penmaru! Become the best manga creator in the world!!   Did you enjoy reading this story? Did you find the hints and tips to improve your manga production? If YES, please share the article with your fellow creators! If NO, please let me know how we can improve Penmaru’s journey! We welcome any and all kinds of opinions and questions, requests and comments, day and night! Don’t forget to follow me on Twitter for updates 😉
Script: Mayuna Mizutani – Follow me on Twitter and Facebook Illustration: Roberto F. – Support him on Instagram, Facebook & APOIA.se Tweet your questions / opinions / reviews at #SMACMangaDojo, and I will answer! 😉
A new editor joins the team, just in time for the SMA9 judging!!

Greetings fellow manga lovers!

My name is Brendan, and I’m from England. Nice to meet you!!

 

Like my esteemed colleague, Enrico, I too am a HUGE fan of ‘Fist of the North Star’ and even had the great fortune of localizing the first 6 volumes for the recent eOneBook kickstarter release! (Jagi’s my favorite character in case you’re wondering!) My other loves include pro-wrestling and Sumo, so titles like ‘Kinnikuman’ and ‘Aah Harimanada’ are also ranked very high on my bookshelf. OH! And I LOVE anything creepy in my manga! Mwahaha!

I’m new to the SMAC! editorial team but I’ve already had the great honor of reading many of your submissions for SMA9 ahead of the exciting International Manga Fes to be held in Kumamoto this coming September! After seeing the level of your work, I can barely contain my excitement at seeing how the final judgements for the submissions will turn out! I’m truly blessed to join the team of super talented editors here at SMAC! and I can’t wait to work with YOU, the creators, in making something truly special! On that note, PLEASE keep those submissions coming! You still have until August 10th to submit your illustrations so, in the spirit of WASAMON, if you’re still unsure about submitting – “Give it a try!”

   

In the meantime, with summer just around the corner here in Japan, please feel free to check out my weekly blog “The Weekend Yokai Hunter”. Starting from next Friday, I will be hunting around Tokyo for different “Yokai” (supernatural entities indigenous to Japan) and shedding some light on their background and relevance in modern day culture. I hope to see you there!

   

 Lastly, please be sure to check out the bios of the other editorial members below! ↓↓↓

 
SMA-EX3 – DEADLINE EXTENSION for Illustration Category!!   SMAC! editorial team has good news regarding the ILLUSTRATION contest of SMA-EX3! (さらに…)
Kakimoji S.O.S. #15 – Laughing with Kakimoji I’ve introduced many varying Kakimoji techniques in the course of this series, but until now, I haven’t covered the rules. Why, you ask? Because there aren’t any!  Much like the nature manga itself, expressing Kakimoji is very much a personal choice for the creator in charge. Going so far as to creating their own rules in the process. Though this may sound daunting, even difficult, it is by far one of the most interested aspects of making manga.  Today, we will step, once again into the world Kakimoji and analyse the work of a great manga sensei (can you guess who??), as we look at originality and application of our favorite “printed sounds!”    ① Kakimoji used in “dense” panels. The sheer talent of Hara sensei (you guessed it!) shines the brightest when he creates panels, heavy in action and power. Even amongst these dense, throbbing boxes of power, Hara sensei is able to expertly insert Kakimoji and allow it to breath amongst the maelstrom of muscle! This perfect balance of both action and Kakimoji turns this scene from amazing, into explosive!  “YOU ARE ALREADY…KAKIMOJIED!”    ● White with Black Border/Black with White Border 

ドゴオッ(DOGO!)

A very bold, personal rule of Hara sensei is the use of color. In the picture above, we can see how he has employed a stark white coloring with thick, black borders. This use of light is in direct contrast to the darkness of the scene, thereby able to stand out brilliantly. This is in direct contrast to using black, with a white border to emphasis the heaviness of the scene.  This is a great example of imposing your own rules when using Kakimoji. By choosing between these two formats, you can drastically change the tone and atmosphere of the scene with tremendous, never tried before Kakimoji-power!

 ボッ(BO!) ドゴーン (DOGOON)

 

ドドオオッ(DODOOO)

 ★ White Kakimoji with a black border: the contrast here allows you to adjust the timbre of the   scene, while adding a sense of sharpness.
<Application hints used in Hara sensei’s work> GOOD! – O: While thinking about the basic Kakimoji design, it is very important to arrange and add flourishes that match action in the panel. NOT GOOD – X: If you use overlapping black character Kakimoji’s in a frame with dense backgrounds or a strong characters, the inclusion of the Kakimoji can sometimes diminish or interfere with the picture. 
  ② What you need for a “Gag Panel” 

ドオオオン(DOOON)

In Japan, there is a traditional style of stand-up comedy known as “Manzai”. Usually performed by two comedians, the act consists of the “Tsukkomi” (straight man) and the “Boke” (funny man), with the “Tsukkomi” regularly striking the in frustration as their antics!   This comedic devise isn’t to cause pain to the bumbling “Boke”, rather, it is a form a slapstick.  Therefore, the comedians go to great pains to perfect this action, ensuring the sound of the tap gives off a light, yet strong sound in order to make the audience laugh. This particular sound, so different from the hard thud of a real punch is in keeping with the humorous goals of the “Manzai” duo.  So, what kind of ingenuity is necessary when creating a “gag sound” in manga? ● Emphasizing lightness over aggression

ビュッ　バッ　ビョッ　(BYU, BA, BYO)

The character on the right is using a fighting technique that would kill his opponent, if this was a serious manga. However, the design of the Kakimoji, namely small and rounded, tells us this is a comical scene.  Just like the “Tsukkomi” on Manzai, the character’s attack here is over-the-top enough to elicit laughs from the reader.  With the use of a black border, we get the feeling the sounds are very heavy, thereby decreasing the “gag” element. But add the characters in white, you can balance this element out and finish with a “gag” like effect.  <Application hints for gag manga Kakimoji> ● Use a serious Kakimoji and present in an opposing design

カッ（ KA!)

The character below is shouting the famous “Atatata” sound. This, coupled with the caricaturish facial expression can be seen serious, within a “gag” setting… The seriousness of the action, presented in this way just adds to the comedy of the scene!  Remember, in “gag” manga, you do not necessarily have to use humorous Kakimoji in every scene, indeed, by using serious Kakimoji presented in a humorous style, you will ensure a more sophisticated level comedy.  I have introduced a rich variety of Kakimoji techniques today, all abiding by the rules of the creator. So carry on reading manga, carry on observing which, when and how the Kakimoji is presented and try for yourself!    H-Hey! What is the “PenMaru says” moment?! Oh well, thank you for reading this Hara sensei-lover guy’s article today, too!       See you next week! CIAO!  
FOLLOW ME for more Kakimoji tips! Twitter Facebook …and remember to use the hashtag #kakimojisos 😉
Making a Mangaka: #4 Eiichiro Oda

Eiichiro Oda was born into “Wasamon”. The Kumamoto native kicked off his career in comedic style with a brief appearance in Yudetamago’s madcap comedy, Kinnikuman. From these humble, fanboy beginnings to becoming the undisputed king of manga, just what is Oda sensei’s secret? This week, I hoist the flag and set sail into the surreal mind of manga’s biggest star.

 

Name: Eiichiro Oda (尾田 栄一郎 Oda Eiichirō)

Born: January 1, 1975

Place of Birth: Kumamoto, Kumamoto Prefecture, Japan

Speciality: Swashbuckling Adventure with a Twist! 

   

   

ABOUT

 

Hailing from Kumamoto, the land known for its love of innovation, Eiichiro Oda grew up on a diet of Dragon Ball and TV animation. A mainstay in the Oda home was Vicky the Viking, a Japanese/German production centered around a wily and quick witted Viking boy and his band of inept pirate comrades. The show was an entertaining riot of comedy, clever slapstick and jam packed with clever solutions to absurd problems, proving to be a vital seed for this future superstar of manga.

 

With his roots firmly planted in humour, Oda jumped at the chance of answering Shueisha’s call to design a character for their star-billed wrestling comedy, Kinnikuman. Thus, Pandaman was born, a character that both wowed creative duo Yudetamago, and became a recurring character in Oda’s future work.

 

Pandaman kicked off Oda’s need to create manga, and at the age of 17, he submitted his first work, Wanted!. The fast paced adventure about a bounty hunter on the trail of his prey, not only earned him an abundance of awards, it also secured his first paying job with Weekly Shonen Jump. By working as an assistant to big names, including Shinobu Kaitani, Masaya Tokuhiro and Nobuhiro Watsuki, it was only a matter time until the training wheels came off, and a much anticipated debut exploded onto the pages of Jump.

 

In late 1996, and encouraged by the great creators he was working with, he submitted his first One-Shot to Shueisha. “Romance Dawn”, a swashbuckling pirate adventure, featuring a certain Monkey D. Luffy, was originally envisaged during Oda’s High School days. So with a little fine tuning, the kid from Kyushu unleashed his masterpiece idea to unanimous critical acclaim, and changed the face of manga forever.

 

One Piece burst onto the scene just one year later. With the addition of the Pirate King and the titular treasure in question, little changed from Oda’s original concept. From the very beginning, One Piece was always about one thing… ADVENTURE!

 

A Guinness Book record holder for “the most copies published for the same comic book series by a single author”, Oda could be forgiven for taking a long break. But instead of resting on his laurels, the tireless star of manga has actively become involved in all incarnations of his brilliant series. From scriptwriting, designing and executive producing big screen versions of One Piece to producing lavish art books, Oda not only displays a protective, almost fatherly attitude to his creations, but also shows us that a great mind is always in search of the treasure that is “creativity”! 

   

MY THOUGHTS

 

As a proud citizen of Britain, comedy is in my bones. From the surreal escapades of the Monty Python crew to the hold-no-punches, acid wit of Ricky Gervais, it is generally accepted that Britain is a master of dark comedy. So when I first discovered the works of Eiichiro Oda, I instantly felt on familiar ground.

 

Much like Naoko Takeuchi and Harry Potter creator, JK Rowling, Oda sensei is very much a victim of his own success. One Piece is huge, I mean HUGE. With record breaking sales that have dwarfed every other title in the history of manga, Eiichiro Oda’s pirate adventure will undoubtedly overshadow any of his future work, yet at the same time, he has squarely and firmly hit the nail on the head of creativity. His secret weapon? A story about friendship, told with a smile.

 

Looking at all three incarnations of One Piece, from the hastily pencilled characters in Oda’s High School text book, through to a slightly tweaked version for his hopeful one-shot, and onto the series we all know and love today, I was immediately struck by how similar they all were. With only a few minor changes here and there, the core of the idea remains the same: a bold boy on the search for adventure. But it’s his use of tragicomedy in crafting stories about friendship that really resonate with his readers.

 

Friendship is at the very heart of his work, and with friendship comes many an untimely end! Here, Oda seems to be juggling many concepts; the bonds of friendship, adventure and tragedy, all tempered by comedy. Accomplishing this is no mean feat, and the fact that these juxtaposing elements are so seamlessly melded together, brilliantly illustrates just how masterful Oda is at twanging our emotional heart strings.

 

Respectfully covering subjects such as war, slavery and genocide, interwoven with madcap, absurd comedy is what Oda excels at. We are, at once able to understand and emotionally invest ourselves in the tragedy on the page, yet remain “buoyant” throughout due to perfectly timed injections of comedy. The use humour here does nothing to detract from the tragedy, indeed, it allows us to digest the gravity of the situation much more easily.

 

Eiichiro Oda may well have created an uncontrollable behemoth in One Piece, much to the delight Shueisha’s accountants as well as his army of fans, but he’s also shown us how to digest many emotionally charged themes with a smile. Never a truer saying could be attributed to Oda’s body work than “comedy is the best medicine”.

   

MANGA

     

NEXT WEEK: Masamune Shirō

 

Twitter – @chris_smac

Facebook – Chris Smac

Manga nutcracker #15 – Witch Hat Atelier   Witch Hat Atelier Shirahama Kamome Published by: Kodansha 2016 – Present    

“A curious girl, embarks on a magical journey to save her Mother.”

          If you enjoy the fantasy genre, you will definitely fall in love with Witch Hat Atelier! This magical manga begins with Coco, a quiet girl from a quiet village who, in time honored fantasy tradition, finds herself on a fantastical adventure.   She dreams of becoming a mighty magician, though in a world where only those born with magical abilities can study the secret arts, it remains just a pipe dream. Or so everyone thought…   One day, a magician by the name of Qifrey, visits her village and orders her “not let anyone enter the room while he is performing magic”. It’s revealed to be a great taboo for non-magic folk to witness magic being performed.      However, for the ever curious Coco, keeping that promise proves to be impossible as she easily breaks into the room to witness Qifrey’s mysteries for herself. She is astounded to see the great magician, not invoking magic, but drawing it! This revelation shakes her world. As long as you can remember the symbols, anyone can become a magician!   Brimming with excitement, Coco consults an old reference book and draws her first magic symbol. Though instead of the desired result, the spell goes horribly wrong, converting her mother to stone! Little did Coco know that by learning the truth about magic, she would plunge herself and her mother into terrible danger!   With her world in turmoil, Qifrey offers her the chance to study magic under his tutelage, thereby learning how to release her mother from the accidental curse.   Coco’s journey to becoming a magician has begun.  
NUTCRACKING TIME!
  Witch Hat Atelier is a manga of many parts. Everything from classical fantasy tropes, Renaissance art and Victorian idealism is squeezed into this delightful story.   Let’s start with the protagonist. Coco is the perfect character for a story of this kind, evoking a beautiful sense of Alice in Wonderland with her innocent and curiosity. Much like the titular heroine of Lewis Carol’s Victorian masterpiece, her curiosity entices her into a land of wonder, though at a terrible cost.   Her “mission” to bring her mother back to the land of the living is an old one, but Kamome sensei’s use of delicate art and interesting characters breaths fresh air into this age old story structure.   Talking about art, the beautifully drawn lines and use of etching gives the page a vintage look to rival any dusty, magical tome. But it’s the use of light and dark that really gives this manga life. Much like the parallels of magic itself, Kamome sensei emphasis the darkness in her panels, thereby giving strength to the light. A technique initially perfected by the great Renaissance painter Caravaggio, further showing us the depth of inspiration in this magical tale.   Despite the action taking place in the familiar world of magic, including a magic school, Coco’s journey is much more than a ‘nobody’ becoming a ‘somebody’. It’s a tale of hope, hardships and above all, love, repackaged in the magical format of manga.   Was this article helpful ? Do you have a favorite fantasy manga? Would love to hear your thoughts so follow me on Twitter – @SmacViVi Facebook – Vivi Fabbri Smac Don’t forget to use the #manganutcracker
SMAC! MANGA DOJO #10 – "How to scent out an 'Interesting' idea" <Characters> Penmaru Is a ninja dog who dreams of becoming the greatest manga creator in the animal world. To help achieve his dream, Mocchi gives him a mission… “Learn how to create manga at the Manga Dojo.” His favorite type of comedy is “Short Comte (Skit)” “Shihan” Manga Master The master of the dojo and Penmaru’s tutor in the ways of manga. An experienced editor who had worked in the manga industry for over 30 years. His favorite type of comedy is “Sandai-banashi, in Rakugo”   <Previously in Manga Dojo> Penmaru learned the 4 IFs that helps creators search for ideas! With the flame of inspiration burning within him, Penmaru vigorously starts working on ideas…… Can he bring an “interesting” idea to Shihan!?   (さらに…)
Kakimoji S.O.S. 14 – KAKIMOJI 3D WORLD! The fantastical worlds in manga have no audible sound or movement, a result of the action being played out in two dimensions. But do your lingering memories of reading manga recall static and silent characters? Or do you remember them bursting from the page?!  The expressive technique known as Kakimoji perfectly introduces the three dimensional concepts of sounds, motion and smells, enabling manga to be enjoyed on many levels.  Today we will look at the design of Kakimoji characters, from size to nuance (…a big thank you to Penmaru for his amazing drawings!)     You’re welcome!        Fonts makes all the difference!  Take a look at this first drawing…  Here we see a girl slapping a boy. Simple enough, but we’re left with a few questions. How strong is the slap? What kind of scene is this, dramatic or comedic? Without the help of Kakimoji it’s hard to tell!  Let’s add the Kakimoji “BISHI” (tapping sound), in a variant forms and we’ll see how much the scene changes with this simple addition.    ① Standard Design    This “BISHI!” is a slightly large, rounded design in a white. Colour choice denotes the kind of sound needed for the action. White is able to convey a standard level of sound, neither round nor quiet, though still firmly depicting the hand making contact with the boy’s face.    ② Strong Design    “BISHI!” designed in a rough font, in black. By overlaying the Kakimoji across the scene, we get the impression that this is a mighty slap! Also, the use of fuzzy characters implies a very violent action, packed with aggression. I wonder what this boy said?!    ③ Not so powerful design   “BISHI” here is shown in a small speech bubble. This method of showing Kakimoji helps to illustrate a quiet, weak action. The use of the speech bubble is an effective way of showing quiet or cute sound.    ④ Comical design      The action is now completely different from the ones above!  Can you tell the main difference? The characters are rounded and in white, giving us a soft, almost squidgy effect, but that’s not it… The main difference is Hiragana!  Hiragana, we immediately recognize a comedic scene. Lacking the seriousness of Katakana, much like those used in Takahashi sensei’s “Urusei Yatsura”, this method shows us that the slap is playful, amounting to annoyance rather than a serious incident. 

And look what happens when you adjust the background effects with Kakimoji! 

  ● Let’s read manga with a focus on Kakimoji! By carefully choosing the style and design of Kakimoji, using size, color and arrangement, you can effect the way a manga is directed.  The next time you pick up your favourite manga, cast a critical eye and take not of the Kakimoji used. You might be surprised how much Kakimoji leads the story!  
Making a Mangaka: #3 Naoko Takeuchi Manga, particularly Shojo manga had a relatively small following around the world, only read by those in the know who craved the entertaining stories pouring out of Japan. But all that changed in the early 90’s, when a Shojo character changed the world forever. Naoko Takeuchi created a character that screamed Girl Power, way before the Spice Girls had “Zigged” their first “Ah”. Sailor Moon crossed borders and cultures and quickly became a focal point for girls around the globe, showing us that girls are just as good as boys, if not better at saving the world.   Name: Naoko Takeuchi (武内 直子 Takeuchi Naoko) Born: March 15, 1967 Place of Birth: Kōfu, Yamanashi, Japan Speciality: Out of this world GIRL POWER!  

ABOUT Growing up in the shadow of Mount Fuji, in Kōfu, Yamanashi Prefecture, must have instilled a sense of wonder in the young Naoko Takeuchi. Indeed, during High School, resplendent in a certain sailor uniform, the young student enthusiastically pursued the astronomy club, not to mention the manga club, enabling her to gaze and reimagine the wonders of the universe in her sketchbook.   Dissuaded from pursuing an uncertain career in manga by her Father, Takeuchi chose the field of chemistry for her major at university. While juggling her studies with a career as a Miko, a Shinto shrine priestess, the pull of manga became too strong. Submitting “Love Call”, arguably her first manga into Kodansha’s Nakayoshi Comic Prize for Newcomers at the tender age 19, Takeuchi earned herself a prize and a subsequent series with Kodansha’s Shojo magazine, Nakayoshi called “Maria”, based on the early 20th Century novel, “Daddy Long Legs” by Jean Webster.   Takeuchi’s fascination with the universe continued unabated, so for her next project, she focused on the cosmos. Her editor at the time, Fumio Osano loved the idea of an intergalactic superhero, suggesting that the protagonist dispense justice in the popular sailor uniform worn by Japanese schoolgirls up and down the country. Thus Codename: Sailor V was born, becoming an instant hit for Kodansha’s Run Run magazine and paving the way for its spiritual successor, Sailor Moon!   Sailor Moon soon gripped the world, thanks to the internationally popular anime. The character and her teammates, proved a merchandising dream for both Takeuchi and toy manufacturer Bandai, but with the cancellation of Run Run, and with it the planned Sailor Venus anime, it was looking more then likely that the adventures of Usagi Tsukino and her team of planetary superheroes were drawing to a close.   Post Sailor Moon, Takeuchi began work on a new series called PQ Angels. The tale of two alien girls, hilariously trying to fit into life on Earth was also brought to a quick close when Kodansha allegedly lost 7 pages of the manuscript. Takeuchi’s creative output inevitably slowed down with the arrival of a young family with fellow manga creator Yoshihiro Togashi, but never resting on her laurels for too long, she was soon back at the drawing board.   Throughout it all, Sailor Moon endured and emboldened countless girls with a sense feminism, while also becoming a gateway to the larger world of manga. This enduring interest is best illustrated when figure skating Olympic gold medalist and self confessed Sailor Moon obsessive, Eugenia Meduedeva performed her set in the now familiar sailor costume, proving that Takeuchi’s message of female empowerment is indeed universal.   MY THOUGHTS Way before I’d ever heard of Shojo manga, I’d heard of Sailor Moon. That iconic costume, flowing blonde hair and an abundance of accessories were like catnip to toy manufacture Bandai. With enough oomph to rival Barbie in the hearts of Western children, Sailor Moon scored a huge hit, with toy stores and Saturday morning television slots enthusiastically introducing Usagi Tsukino/Sailor Moon to the world. But what is it about Naoko Takeuchi titular hero that enabled her to break free of the confines of manga and become the International success it did?   With Codename: Sailor V, the blueprint of Sailor Moon, Takeuchi reworked the age-old trope of ordinary person thrown into extraordinary circumstances. From Perseus to Spider Man, this story format allows the writer to build on themes of responsibility and personal growth amid a backdrop of good vs evil. But without the input of Kodansha with their suggestion of adding more key characters, Codename: Sailor V could well have become just another footnote in manga history.   Sailor Moon borrowed heavily from Codename: Sailor V, from costume designs to basic story structure. Though instead of the heavy emphasis on tragicomedy, with Sailor V’s humorous fails in love, we have a story of destiny fulfilled. Usagi Tsukino, an ordinary schoolgirl is plunged into a mission to find The Princess of the Moon by the mysterious cat Artemis. This mission soon reawakens memories of intergalactic intrigue and great battles of good versus evil in Usagi and soon reveals her true identity, that of Sailor Moon and herself the Princess of the Moon.   With a backstory steeped in classical mythology, wrapped up in Greek tragedy, Sailor Moon takes well-established concepts and repackages them in such a way that feels fresh and empowering. From star crossed lovers doomed to die to Messianic overtones with the self-sacrifice and rebirth of many lead characters, the overpowering message Takeuchi gifts us is one of love.   Post Sailor Moon, Takeuchi made a return to the goofy comedy touched upon in Codename: Sailor V, with PQ Angles. The tale of two alien girls on a mission to understand the people of Earth is a familiar concept to people in the West from hit TV shows such as “Mork and Mindy” and “3rd Rock from the Sun”. But PQ Angles wasn’t to be. With the loss of the manuscript, Takeuchi decided to shelve the idea and focus on her one, huge hit and the polishing Sailor Moon for re-publication.   Short-lived as it was, from 1991 to 1997, Sailor Moon could well be viewed as a cursed chalice. A victim of her own success, Takeuchi attempted many manga launches but none could live up to the success of her sailor suited heroine. With a manga that fits easily into the stable of Western style superheroes, coupled with a sense of unashamed “girlyness”,Takeuchi created characters that screamed “GIRRRL POWER”,  hitting on universal themes that crossed cultures. This was Sailor Moon’s secret and her legacy. A manga that felt familiar to all who read it, telling girls that it was “ok to be pink and fluffy” as long as you were saving the world. In the words of Sailor Moon herself, “Moon Prism Power, Make-UUUUUP!”   MANGA Chocolate Christmas (チョコレート·クリスマス Chokorēto Kurisumasu) 1987–1988 Maria (ま·り·あ Ma-ri-a) 1989–1990 The Cherry Project (Theチェリープロジェクト The Cherī Purojekuto) 1990–1991 Codename: Sailor V (コードネームはセーラーＶ Kōdonēmu wa Sērā Bui) 1991–1997 Pretty Soldier Sailor Moon (美少女戦士セーラームーン Bishōjo Senshi Sērā Mūn) 1992–1997 Miss Rain (ミス·レイン Misu Rein) 1993 Prism Time (プリズム·タイム Purizumu Taimu) 1996–1997 PQ Angels (PQエンジェルス PQ Enjerusu) 1997 Princess Naoko Takeuchi’s Return-to-Society Punch!! 1998–2004 Toki☆Meka! (とき☆メカ! Toki☆Meka!) 2001 Love Witch (ラブ ウィッチ Rabu Witchi) 2002 Toki☆Meca! (とき☆めか! Toki☆Meca!) 2005–2006   NEXT WEEK: Oda Eiichirō   Twitter – @chris_smac Facebook – Chris Smac