In the Famitsu Comic Clear magazine, the company announces that they will be publishing a side story that focuses Bellows's salvaging career leading up to the discovery of Ledo and Chamber. It will use Hanaharu Naruko's original character designs. The story is written by Oceanus in collaboration with Hiroki Uchida. The manga will premiered in the magazine on June 7th.
Welcome to the weekly Mushibugyo review! First, I wanted to apologize for the late report due to the wiki workload both in Anime Vice, Animanga Wikia communities, and Screened. I will do a review every Monday to promote the Mushibugyo Discussion thread. All comments are welcome here or over at the discussion thread.
Mitsuki is investigating the whereabouts of the Insect Magistrate, and she plans to seduce Jinbee Tsukishima to get answers. When she gets jealous of Oharu (mostly Oharu's large breasts) and does not get much answers from Jinbee, she kidnaps Oharu in order to get the answers. Though, Mitsuki does not get any answers when Jinbei confesses that he doesn't know anything.
Meanwhile, the Mushikari head to Hachijo Island to hunt the Insect Magistrate.
Overall, this episode is great. It finally changes things up. It's has been Monster of the Day plus the character origin stories theme. With the Mushikari, I hope to get answers if Koikawa will get revenge on the Mushikari for killing his mother. I wonder why Koikawa does not have a grudge against Mugai, a former Mushikari member.
In terms of wiki progress, I created the Mushikari and Mushibugyo concepts. I still struggle to find the Kanji for these pages.
Its release date is currently unknown.
In the story, a "Fleet of Fog" loaded with super weapons suddenly appear all over the world. Without the ability to withstand this fleet, humanity was defeated and could no longer travel the seas. 17 years after the devastating naval war, Gunzō Chihaya and his friends somehow commandeer a "Fleet of Fog" submarine and rename it I-401. Together with Iona (I-401's "mental model" or physical incarnation in humanoid form), they take on the "Fleet of Fog."
Quick off the confirmation that Ark Performance's sentient battleship sci-fi manga Arpeggio of Blue Steel is set to be adapted into anime, Flying Dog, whose domain registration originally prompted anime rumors, has posted a promo.
Seiji Kishi (Angel Beats! , Persona 4 The Animation) will direct the SANZIGEN (009 Re: Cyborg , Black Rock Shooter) produced series, with Makoto Uezu (Devil Survivor 2 The Animation, The Qwaser of Stigmata) penning the scripts.
Thanks tofor finding the trailer.
Hey guys and gals, welcome to this random blog on wiki editing.
I enjoy a challenge in wiki editing, and the section that gives the most challenge is probably the appearance section. One of the new spring anime series that I'm working is Gargantia on the Verdurous Planet. The clothing that the Gargantians wear are so pretty and unique. That makes it a challenge to describe their clothing.
Below is Bellows page that I wrote myself.
She is an attractive, young woman who has dark blue eyes and red hair that is fashioned usually in a ponytail that extends past her shoulders. Her attire consists of an orange tank top with red straps and a yellow frill at the bottom. She wears short green pants and long stockings that reach past her knee caps.
I haven't even started on Amy's page and describe her clothing.
Her cultural dance outfit was pretty revealing. Wow, it's going to be one more crazy thing to describe.
What do you call those plates on her crotch? It's the limited vocabulary that keeps me at bay. I'm not a native English speaker, so I look up these stuff on the web. I look up Native American clothing because that what comes up in my mind for Amy and the others. I haven't had much success.
One time, I remember looking up beard style for a few characters.
Below is an interview done by Misaki C. Kido.
Taiyo Matsumoto is known for his works: Tekkon, GoGo Monster, Blue Spring, and Ping Pong. His current manga series is Sunny that started in 2010.
Where do you usually live?
Taiyo Matsumoto: I live near the ocean in Enoshima. Twenty years ago, I was working on a manga series called Hana-Otoko which was about a family who lives near the beach. So I went there on a location scouting with my friend (Issei Eifuku, storywriter of Takemitsu Zamurai) and decided that I wanted to live there. Ever since I was little, it’s been my dream to live near a tourist area. Whenever I go somewhere on a field trip, I was envious of the local people there. But once I started to live there, there’s good and bad about it, like lots of people coming over. (laugh)
Do you still like drawing?
I do. I like it a lot better than making stories.
What’s your stance on drawing?
I just want to keep it interesting, and never want to stop evolving. I don’t want to deny anybody else’s art because I want to keep absorbing. Even if someone else’s art doesn’t seem directly relevant to my work, it could be very interesting if I get to know it.
What is your approach on making stories?
It really depends on each series. Sometimes I want to make a story that is purely entertainment. Sometimes I want it to appear very intellectual. For Sunny, it was the first time I ever wanted to portray events that had happened to me.
Sunny is about a facility for children who lives away from their parents for a reason or another. What was your circumstance for living in a place like that, and how did it affect your personality?
It’s kind of a bit difficult to talk about this. It was more like I was there when I realized. I think my parents had their own reasons too. I am not a psychologist or anything, so I don’t know what kind of effect the experience had on me. The fact is I didn’t spend time with my parents in my childhood, so I have no idea what would I be like if I did. I had a phase that I was afraid of getting close to other people. But I don’t know if it was necessary due to the experience.
What made you decide to work on Sunny now?
There were so much going on back then, it was a very dramatic time of my life. So I’ve always wanted to make a manga about it. But the story has a very strong impact. I didn’t want people to have a certain image about me, or cause any trouble for the people who are involved in it. So I didn’t want to work on it for a very long time. But one day, I thought that I won’t be able to write about children if I grew any older. Also I wanted take on a new challenge by working on an autobiography-like story.
You often seem to work on manga series focused on children. Why is that?
TM: (Since I came to Toronto) I get that question a lot. But actually I’ve never thought about it until now. I actually don’t know why. I think it’s fun for me. Also I may have a little bit of confidence that I can write about children better than anybody else.
You also work on hard-boiled stories. Why is that?
It’s because I love it so much. My favorite artists like Katsuhiko Ohtomo and Taniguchi Jiro often worked on hard-boiled stories. I always thought there’s a world like that waiting for me when I grow up. It’s a little sad that there aren’t that many stories like like nowadays.
What was happening in your life when you created Tekkon Kinkreet (Black & White)?
I felt like it was one of my failures. I started the series with full of confidence. But it was so unpopular in the magazines, my editor told me that it was getting cancelled. I couldn’t argue because it was true that the series was unpopular. It was only later, a lot of people who are artists, musicians, or filmmakers recognized it. They had openly spoken about it, and recommended it to their fans to read it. That made me really happy. I had more plots in my mind for the series, like the battle between Fujimura and Suzuki. (laugh) I also wanted to gradually explain what “Itachi” was. But I barely had a time to finish it. But as Mike (Michael Arias, the director of the animated movie Tekkon Kinkreet) said though, I think it was just right the way it ended.
So in your mind, what was “Itachi”?
I think “Itachi” is something that everybody owns inside of them, but it’s sealed away. It’s kind of hard to explain. But I know everybody has it inside of them.
Do you have any recurring dreams?
I don’t dream too often nowadays. But matter of fact, I do. It’s a dream where I am hanging onto a really tall metal pole. I am hanging onto it as much as I can, but it slowly starts to swing little by little until it goes out of control, then I fall. That’s when the dream ends. Also, I have a dream of fist fighting a total stranger, but I am moving extremely slow, as if I am under water.
Do you have any favorite scenery?
I don’t. But there is scenery that I don’t like. I don’t often talk about this because I don’t want to be misunderstood. But sometimes it scares me to see a crowd of people, like at a protest or stadium. I don’t mind watching baseball at a stadium, or I like drawing a crowd of people. But in real life, that scenery makes me shiver. In contrast, I guess I do like a scene where one person is standing in the middle of nowhere.
Do you believe in god, or any higher being?
I do. I have no proof, but I do. I think there’s such thing as spirits. When someone passes away, I don’t know what exactly happens-- they might be around us and looking at us, or they fuse with other spirits-- but I don’t think they’ll just turn into nothing. I’ve never experienced the presence of “god of forest” or “god of mountain.” But I believe every living creature-- weather if it’s people, dogs, cats, or trees-- they all have spirits.
Thank you, Matsumoto-sensei, for sharing your deepest thoughts in this interview and delivering all of your work filled with love and compassion.