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stuffymcstuffsworld · 8 months

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Favorite?

"I don't have one." You stated firmly hands on hips. "Oh, come on, everyone has a favorite. Even Kalego has a favorite." Orias pointed to the brooding demon who sneered at the accusation. "I most certainly do not have a favorite."

You raised an eyebrow and gave him a look. "Your mouth says one thing, but your actions say another." You watched as he stormed off. For someone who is so mature, he can throw so many tantrums.

"I don't have a favorite." You stated again. "That can't be true, what about baby-chan?" Raim asked. You gave her a blank look. "What about my little jellybean? I don't favor her over the others." Robin popped up from behind. "Wouldn't they favor Iruma more anyway he is their flesh and blood."

"That's not a very good reason to favor someone, Robin-San." You state calmly. "I have no favorite." You repeated. "Why, though? It must be hard to remain neutral, yis?" Suzy-san asked. You blinked. "Not really. They're all mine." The stern tone in your voice left no room for arguments.

"How can I not love all of them? Or think that each one has the capability to drive me insane? They are all my children, and I won't let them think that they are second to anyone when it comes to my love."

It wasn't a competition. How dare they try to make you choose. "Okay, but say the building is burning. Who would you grab?" Prompted Dali-San. You glared at him.

"Alice can control flames, Kerori has ice, which can me melted into water, dropping the temperature and slowing the rate of the fire. Goemon has the power of wind, which, if used properly, can help the flames die out or be redirected. Picero can smother the flames with his earth magic, I have personally made sure that Clara carries at least 10 full fire extinguishers with her everyday as well as med kits and other emergency supplies."

You began counting on your fingers while maintaining eye contact. "That's five capable children that don't need rescuing right there. Next, we have Soi, who is smart enough to always stick by at least one of his classmates at all times. But for the sake of the argument, let's assume he is separate. Soi understands that he can't remain invisible in this situation. Nor is he allowed to remain quiet. He'll have to make noise and be heard so that one of his classmates can reach him if he's in danger and they will come."

"Elizabetta is never alone. There is no scenario where she is, so don't try to convince me otherwise. She's smart enough to know she needs to help the others remain calm in this type of situation. Soi was kind enough to help me help her learn the entire school's layout and all possible escape routes, and both of them will be fine."

You tilled your head a moment. Seven down six to go. "Lied would be able to locate his classmates and figure out which zones are the most dangerous by using their senses. So he'll know which areas are safer for him to reach. Then there's Kamui who will not have the assistance of animals at this time. Kamui needs to find a safe area cause he's a burn risk with those feathers but that doesn't mean he's helpless. His classmates will most likely be using their familiars for help or to track others. Kamui only needs to find one and he's safe."

Nine, you smiled thoughtfully. "To be honest, Sabro is reckless and will jump through the flames without a thought. He'll most like find others while risking the most exposure to the flames. Then there's Allocer who knows about 40 different ways to put out fires, multiple flame resistant spells, has the entire place memorized to a T, and most likely knows where all emergency supplies are all while contacting emergency services on his phone cause I know out of all of them he'll use a brain."

Eleven... leaving iruma and Jazz. "Jazz knows all escape routes for any emergency before he even steps into a building. He has a good sense of magic and is not the kind to just overlook his classmates needing help. He's not gonna give up easily, especially if he thinks someone is counting on him. And as for Iruma." Taking a deep breath you just gave them a plain look.

"Do you honestly think after all that boy has accomplished a mere fire is going to be his downfall? I'd be more worried about the building than the kids." How dare they underestimate your kids.

"So no, I wouldn't save any of them." Folding your arms across your chest, you set a firm line in your belief. Orias whistled. "Little cold, don't you think?" You frowned.

"Cold is not having an ounce of faith that any of them would make it out alive. I don't have favorites. They all get 5 minutes, then I go and grab all of them. There is no only one crap."

You walked out of the room, still pondering. Maybe you should make the kids have backup walkie talkies in case their phones don't work. Kalego-San might take interest in watching them perform in safety situations. Who knows? It might come in handy later.

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piduai · 1 year

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Interview with Noda Satoru for kotoba magazine

reposting anywhere is fine, but please credit me.

Q: While the setting of Hokkaido at the end of Meiji era does feel somewhat familiar, it was still abundant with novelty. It seems to me that the more new stuff you bring into a story, the easier it conflicts with the way people are used to reading manga. How do you find the balance?

Noda: Exploring what others have barely touched upon before has been my goal ever since I was but an aspiring mangaka. Things like baseball and soccer, magic, demons, superpowers, all the genres that have so many fingerprints on them already have never inspired a desire of competition in me.

Rather than fighting my way climbing on a huge mountain with countless rivals, I'd rather make my own little mountain, with what I, myself, find fun. My previous work was about ice hockey, this one was about Ainu as a key element. I have also considered it crucial to include human drama that anyone at all could relate to. Besides that, I was sure to include things that only I have seen and things that the people I've met across my life have shared with me, it was all done on purpose. This way, my original story is my own, something that only I would be capable of creating.

For example, take the scene with Ariko Rikimatsu's father stubbornly showing his son how to carve a makiri. This was a real episode that Kaizawa Tooru-san, an Ainu artisan, has shared with me, and I depicted it as such. Perhaps Kaizawa-san's father also wanted his son to continue their craft, but didn't want to force him into it, or so I would like to assume.

Q: Bringing characters to life is a process I find difficult to even imagine. Do you go with your gut on top of the general layout, and then finish off with calculated tweaks? Especially Asirpa, who really gives Golden Kamuy its flavor, is a character whose like I haven't seen before. Could you elaborate on this unique heroine?

Noda: Just as you said, it's half hunch, half sticking to the plan. As Sugimoto's partner, if Asirpa were a grown woman, she would have been bound to become the object of romantic affection of either Sugimoto himself or someone else on the male cast. That, on top of feeling unnatural for many readers, would have steered the story into an entirely unnecessary direction. So that plot line was given to Tanigaki and Inkarmat. The scenario in which the Ainu partner is a pops-aged guy was given over to Kadokura and Kirawus. The dynamic between Tanigaki and Cikapasi is great as well, although it's a bit difficult to make it feel profound because Cikapasi is a child, and children should be protected and mentored by adults.

In the end, the reception for Asirpa and Sugimoto was the loudest, so it seems that both my hunch and my calculations were right.

Q: When a bunch of characters with entirely different motivations are united by the same goal, a Japanese audience tends to trace it back to Lupin the Third. But it didn't feel like that with yours at all.

Noda: It is true that, when creating different group combinations, I considered which would draw out each character's different sides. For example, when Karafuto was the main scene, there was absolutely no way Tsurumi or Usami would have worked in Sugimoto's group. That trip would have been so awful. Sugimoto's group reuniting with Tsurumi was when they had to part ways for good, the story progressed as definitive points like this were decided on.

Q: It's during their trip in Karafuto when Tanigaki has suddenly become such a prominent figure. In the beginning he used to be quite a serious character, but with time he started getting special treatment and became somewhat of an author's beloved plump pet. I have heard that Tanigaki is your favorite character, so I suppose that his growing popularity and the attention he gets is exactly what you wanted?

Noda: Tanigaki Genjirou's body pillow sales amounted to a mere third of Ogata Hyakunosuke's. He sold even less than Sugimoto. I have always been anxious that my sense of what's cute differs greatly from that of the readers. I mean, Tanigaki is the cutest of them all, so why was there such a huge difference in sales? Furthermore, when they told me that the first merch to sell out during the exhibition was Tanigaki's 5 piece gravure set, I screamed, "See, this is how it's supposed to be!".

Q: When and why did you switch drawing from traditional to digital? Would you say that your page spreads are so good specifically because you do it all digitally?

Noda: I have already switched to digital entirely by the time I started my previous work, so in 2010. Before that, I was an assistant for a mangaka that stuck to traditional. The problem is that, when creating manga, there's a lot of extra labor besides drawing that goes into it when done by hand. Cleaning out the corners with wite-out or erasers, cutting out and sticking or taping panels, and the such. A lot of fine extra work that is needed for traditional disappears entirely when done digitally. There's a lot of other merits to it as well.

Speaking as a professional mangaka, during my previous work I had my assistants come to the job in person, but now we mostly communicate through Skype, so there is no need to be particular about my appearance when working, no need to worry about whether my assistants get along well, and it's much easier mentally. Being able to draw traditionally is important too, though, and if I don't practice, it's easy to start messing up when drawing illustrations meant for autographs.

As for spreads, a lot of them were done with the intention of splitting the upper and lower parts of the page. This was done mostly with the intention of being in a physical book in mind, although lately there's a lot of people who read exclusively on their smartphones. For this reason I think that this will be my last work with that kind of panelling. I consider a mangaka that cannot adjust to the times fated to be left behind.

Q: Did you do any special work related to the exhibition? How did you feel about the exhibition in general, with it going all around the country and with so many people coming to see it?

Noda: I listened to the explanations sternly and answered whatever questions were asked of me. The exhibition staff was very considerate of this work, and eagerly participated in the management.

I loved the goods. Like the brain marshmallows. When I saw the Tanigaki mousepad I started thrusting my hips, saying, "Oh, it's finally here". I want about five of them, to put both my hands, feet, etc on. The Tanigaki bromides were my idea, by the way. I just asked them to make my drawings into goods without much consideration, basically forced the idea on them.

I consider the fact that the exhibition overall was a great success proof of this work being well loved and acknowledged.

Q: As appreciation for manga has grown overseas, back in 2019 there was a panel of Asirpa at the entrance of the British Museum during the manga exhibition. How did you feel when looking at it?

Noda: When I heard that they decided on Golden Kamuy to represent Japanese manga as a whole in that exhibition, I could really feel their resolve shining through. After all, if the goal were to attract as many visitors as possible, there was a lot of more well-known hit manga to choose from. I was told that Asirpa was chosen as key visual by popular vote from the museum curators.

I have met with the guides who helped me back then on site recently, and, according to them, the exhibition was highly praised in newspapers at the time, stating "It felt entirely different from the manga culture we know of. My impression of the medium has changed completely", things like that. I think that the organizers were more preoccupied with having a meaningful exhibition rather than getting visitors.

It seems that back in Meiji, the non-executives of the British Museum have courteously asked a few Ainu to carve a few tools for them from the local wood. I've seen those tools and the storehouses myself. Maybe they decided on Asirpa as key visual because there's this kind of history there.

Q: In order to write about the Ainu accurately, I heard that you dedicated a lot of time to proper research and to meeting various people. I can't imagine you haven't met any opposition or complaints. If you read the story, it's quite clear that you, as the author, have plenty of interest in Ainu and their culture; how did you manage to win over the trust of the people who helped you?

Noda: I have always believed that if I'm to depict Ainu in my story as a major theme, it's important to show the beautiful carvings and embroidery, the religious views, the interesting legends and customs, the words, all of it, in a positive and engaging way. And I think it went well with people of Ainu heritage. I don't know any other manga that has engaged with Ainu culture in a similar way. I consider that approach the reason that the work was received so well.

Q: Golden Kamuy has a number of very fun title pages. Ones that look like movie posters, ones that look lifted straight out of magazines of that time, parodies, even fantasy-like ones where Asirpa is frolicking with animals, but when it's cutscene, those animals, well... you know the drill. You can seldom get something that makes you laugh that much with only the title page.

Noda: The parodies weren't there just for the sake of parody, more often than not it was like, "Please read this chapter with this vibe in mind". For example, in the chapter where Sugimoto was fighting Vasily, I wanted to invoke the feeling of a horror movie with the enemy forestalling you no matter where you run, so I made the title page a parody of "Friday the 13th".

Q: The story was full of fierce battles, ranging from duels between snipers, various close defensive and offensive combat, and even fighting ferocious beasts such as bears. I think they're all pretty difficult to depict by just imagination. What did you use as references?

Noda: Well, it's not that this kind of combat can be as flashy as ones using magic and superpowers, so my prerogative was devising ways of showing combat that wouldn't bore the readers. When I was at this or that scene, I'd think of ways to use the surroundings for fighting, or when I looked at various items from that time I'd come up with ways they could be used in combat. I was inspired by Jackie Chan movies a lot, the way they utilize the set in battle choreography, or the way they make weapons out of ordinary objects. That was, perhaps, the starting point. When you look at fights using magic and superpowers, it's hard to imagine pain. But when you see Steven Seagal wrap a billiard ball in a towel and hit someone with it, it feels much scarier and conveys the feeling of pain well.

Q: I heard that the way you draw firearms is so thorough that even maniacs would groan. The depictions of vehicles of those times also seem very detailed. Are you good with machinery?

Noda: Not particularly, no, I often draw by looking at exhibits I photographed at this or that museum, and by referencing materials I purchased myself. I have Sugimoto's type 30 rifle as a full-scale model with minimal movement. In the first there is a scene in which the safety device is released, but back in 2015 there were no materials anywhere to show how it was done precisely. Years later, a video explaining its operation was finally released on overseas Youtube, and I immediately revised the scene in the volume.

Q: I could feel that for you, the sense of realism went further than researching materials. How often did you ask yourself, "Shouldn't it be like this", "Wouldn't it be more natural if it went like this"? Is it possible that there is a realm of realism that is only possible to convey through the use of imagination?

Noda: It was often the case that I'd consult a professional immediately after building up a hypothesis of my own. For example, the time when Asirpa managed to tell apart the fake tattooed skins by looking at the reaction of the tannin applied to them to iron, where she talks about the way a woman has dyed a kimono a beautiful red. I have heard of Ainu dyeing their thick kimonos made of tree bark red using alder, so I hypnotized that since alder also contains lots of tannin, it would turn brown upon contact with iron. After that I consulted Saito Reiko-san of the National Museum of Ethnology and Takano Keiko-san, an artisan from Nibutani, and was informed that although it was possible, though quite difficult, to use alder in dyeing things a neat red, when washed in a river with high iron content, the clothing would turn brown. Therefore my hypothesis was confirmed, and I was able to proceed with writing a crucial plot point.

Q: I assume many fans rejoiced in your choice to not separate Asirpa and Sugimoto, by design or death. Was it the ending you planned from the very beginning?

Noda: I could say that I never planned to kill him at all, although if the story spanned across ten volumes or so, that option wouldn't have been out of the question. But it spanned across thirty one and took eight years, therefore I considered that killing off Sugimoto or separating him from Asirpa would have been a deed done in bad taste towards the readers, who have been watching over them for so long. When you think of a work that you love, a manga or a movie, that you want to reread or rewatch over and over again, wouldn't most people choose something that has a happy ending?

Q: Speaking of movies, I heard that you're an avid watcher. Please share some of your latest favorites.

Noda: I like stuff by David Fincher, Michael Mann, Kathryn Bigelow... My manga is entirely different from their works, though. Recently I went as far as buying "Anne of Green Gables" on Blu-ray. The colors used in the backgrounds were so wonderful, I told the people working on the anime to use that movie as reference.

Q: Editors are important figures for authors. If you don't mind, could you tell us more about yours, Ookuma Hakkou?

Noda: I brought my idea to the editorial department of Young Jump because it kept being dropped from the serialization meetings at Young Magazine. Back then, Ookuma-san just happened to glimpse over it by chance, and immediately decided that it needs to be serialized. In the end, that manga was cancelled after 6 volumes, so I can't judge whether Magazine or Jump was in the right. However, I did feel thankful to Young Jump for giving me a chance, so I wanted to repay them with Golden Kamuy, and I think that I managed to pay that debt off. Meeting Ookuma-san was the most fortunate event of my life.

Q: You already announced that your next project will be picking up that cancelled manga again. Please tell us how you feel about it.

Noda: I was thinking about it even back when Golden Kamuy was still serializing, taking notes and making plans. After finishing a series that took thirty one volumes, I more or less came to an understanding of what kind of preparations and labor a long serialization would require. I learnt that fans are curious about such things as the height and weight of the characters, and that they want to know the full names of basically nobodies, there's demand for really detailed information. I'll make sure to have those things ready when I take upon a new project.

I consider it very fortunate that Golden Kamuy has happened to me when I was at peak physical and cognitive health. I'm not getting younger, but it made me acquire a wealth of experience, so I'll put it to good use with my next work. I'd like for those who liked Golden Kamuy to give it a try, and promise to not disappoint. I'm counting on you.

#golden kamuy #noda satoru #translation

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rovermcfly · 1 year

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How I Made C-53's Cube For My Cosplay

(cosplay)

This isn't going to be a full step-by-step guide or anything, just an overview to give an idea of all the materials and effort required for this specific cube so I skip a lot of details. If you do manage to use this as a guide to make the cube yourself I'd appreciate a credit (and would love to see it).

For anyone curious about my process: I worked on this for about two months in total. I started out with different materials and a different concept and ran into a lot of roadblocks, at least one short circuit and spent quite a bit of money. I had to learn basics of LEDs, programming them, circuitry, electronics etc and spent many hours not even making anything and just learning things to get an idea of what I will and won't be able to do (for example I couldn't program the LEDs myself because the additional cables and microcontroller board simply wouldn't have fit inside the cube but I had to learn a lot about it first to reach that conclusion). I'm not gonna share the previous versions but they all followed the basic general idea (blinking/"moving" LEDs inside an acrylic box) just executed worse.

The parts and tools I needed for the final cube:

and there is a German website that makes custom acrylic boxes so I chose a 105 x 105 x 105 mm box with the screws to hold it together (I like the screws for a more computer/technology look) :

The bluetooth controller came pre-programmed with exactly the light effect I wanted and I control it with my phone.

All the LED parts are connected/soldered together in this general layout:

After connecting everything I stuck the LED sheets to the plastic cube that I cut with an exactor knife to make space for the cables and connections based on how I personally could work best with it

I sanded the acrylic box before assembling it to give it a frosted look and diffuse the light and for additional diffusion I made sheets with the polyester cotton by wrapping it in the clear packing tape so I can easily take it all out and put it back in

And it all fits together like this and the lid of the acrylic box becomes the bottom so it all rests on the battery pack and bluetooth controller so when turned around it gives the illusion of a free-floating cube inside the box

The final result is pretty much exactly what I had envisioned and I am unbelievably happy with it. All the hours and money that went into making this were absolutely worth it and if nothing else this showed me again how you truly can learn and do anything if you just bring enough curiosity, passion and confidence to a project.

Also a quick shoutout to Kamui Cosplay and their discord, without their resources (videos and books on LEDs) and the helpful people in the discord I never would've been able to make this!

#at least one person was interested so here #I'm just happy I can finally show off this project #I didn't wanna announce it bc I was worried I might never make it after all #I did spare you guys a lot of terrible cubes haha #also this eats through batteries mad fast lol #mission to zyxx #c-53 #cosplay #prop making #led #leds

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ttrtru · 2 years

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Art dump

Left - playing around with 3D to compare heights(left to right, Khamul, Murazor|Angmar, Mairon) Right - thinking about Mairon’s crown design, was too slack to colour

Check tag if your fav character is under the cut or not.

Playing around with 3D assets on Clip Studio. There was a good horse and dog model that was free. Dwar added just because of dog.

Left - thinking about a design for a Mairon figurine Middle - a very thin long Mairon that I found hilarious Right - also an idea for a Mairon figurine that I could put on the edge of my computer. Hair long to stabilise.

Top - Akhorahil (left) and Murazor (right) layout that I ended up not finishing Bottom - Playing around with free 3D assets on Clip Studio again. Right one is Mairon confronting Murazor about something, he probably went into Mairon’s room without consent.

Left - Indur having fun. Trying to draw him not too young and actually looking like a man Top Right - Khamul, trying to get his hair right Bottom Right - If Angmar survived after being slayed by Eowyn AU. Sauron remade his body but the scar from the fatal stab stayed. Probs have similar scar on his leg too but its less obvious. Really it’s just an excuse to draw him with a cool looking scar(I was reading Golden Kamuy).

Left - Tired looking Mairon, probs Fourth Age him. Good for whumping Right - Random laughing Mairon just to fill space

Left Langon, Right First Age Mairon. Thought that it’d be kinda cute if Langon was like Mairon’s big brother in Utumno/Angband. I still don’t really know what their relationship is. Initially I had Langon hate Mairon but I’m not too sure these days after thinking about him.

Celedhring designs(plus a random Indur). To any one who doesn’t know him, he's a character from MERP. Was in Eregion but unlike most elves he followed Annatar to Mordor to become his servant. From that description in MERP I assumed he's a super Annatar lover that basically stalked him to Mordor, some how not being killed. I did have his design as far back as 2016 but didn't feel like posting him so he never showed light. Some people asked if I had his design so here he is.

#mairon #murazor #khamul #akhorahil #indur #langon #celedhring #horse #dog #ttrtruart

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thedragonofbadasstemple · 3 months

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A little late but was tagged by @klutenpetter to do a thing! It supposed to be 9 each of like games, TV, movies, etc that you enjoyed for the first time in 2023, but like him I'm just gonna do nine piece of media overall. I'll do my layout of pictures, showcasing each one via the character(s) that were my favorite from each piece of media, and in the order in which I saw them (approximately).

Buddy Daddies, Jan 2023. Super cute original anime. Really enjoyed the QPR thing the MCs had going on. You don't get a lot of found family media like that.

Golden Kamuy, March 2023. I was sick with the flu and binge read the entire series in like a week. LOVED IN. Filled with beefy studs and its a fun ride from start to end!

Psycho Pass, May 2023. I got into cyberpunk recently and gave this a whirl. Really enjoyed the first season, not so much everything that came after tho LOL.

Komi-San, June 2023. I'll be real, I never would have picked this for myself to watch, be me and boys have been watching stuff together and this was a pick from one of them. My first impression was this was just another dumb waifu bait show, but honestly its super cute and super funny. I enjoyed it a lot and can't wait for season 3!

Yakuza Kiwami, June 2023. I started Yakuza Zero, got halfway through and then stopped in 2022, and finally finshed Zero and got through Kiwami last year. I enjoyed it way more than Zero. I really enjoy Kiryu as a character and hope to start the next game soon!

Undead Girl Murder Farce, July 2023. A seasonal anime I picked up and enjoyed greatly. I think its a fun use of public domain characters and the OCs were delightful. I hope we get another season! It was a real sleeper hit for the season I think.

Columbo, August 2023. Yeah, I watched my first episode of Columbo because of a mystery kick UGMF put me on. The first episode I watched naturally was the first episode. I watched another episode on Christmas. I really enjoy this character, I wish I had more free time for this.

Slay the Princess, November 2023. An indie game I've had my eye on for a while because of ManlyBadassHero. The full thing came out and I really enjoyed it! I highly recommend it if you like spooky and romantic things.

Good Will Hunting, December 2023. Its a classic movie, and its been meme'd to death, and yet I've never watched it before now (Its not [my] fault). On my flight to Spain the plane had tablets built in for every seat where we could watch movies and stuff so I took that opportunity to watch a bunch of films I had never seen before (others were Top Gun, John Wick, and Elemental (which I saw in 2024 but otherwise I enjoyed it the most, a morbid curiosity/hate-watch that I loved unironically). I also got halfway through Mission: Impossible but ran out of time.) I'd recommend giving this a go if you haven't seen it. Its a classic for a reason and might give you dark academia peeps a good time LOL.

For this I'm tagging @solanum-iycopersicum, @netnettart, @shinladyanarki, and @the-jar-of-dirt.

#tag game

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matsudaqko · 1 year

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Mini Review: The Unofficial Hatsune Mix

Blog by: MatsudaQko

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Volumes: 3 (English Version if this manga is an Omnibus)

Genre: Fanfare, Comedy, slice of life

Mangaka: KEI Garou

Rating: 7.5/10

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Song 1: The Mangaka and Art Mix

To start, I wanted to talk about the art and the person behind this series, because it's probably one of the more important aspects of this whole thing.

The person who draws Unofficial Hatsune Mix is none other than Kei Garou, who if you don't know, designed and is the artist for the popular digital singer Hatsune Miku.

This manga has of full color illustrations, of which you can find before you get into the reading part of it. (For the English Omnibus Version you find it before in-between transition from one volume to the next before reading.)

Looking at this and then his new art, you'll see just how far this artist has come, and just how much of a glow up he's had since making this back in 2008.

I think it's absolutely awesome that he drew for this, it makes it more special and personal to the character, with how passionate the people behind Hatsune Miku are.

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Song 2: Story and Layout Mix

There really isn't exactly a all out connecting narrative for this manga, in fact, it's more like 4komma manga, telling diffrent stories and narrative themes each chapter.

All the regular characters, Hatsune Miku and her friends (Kagamine Len and Rin, Megurine Luka, Meiko and Kaito), go on diffrent adventures and take on diffrent roles as you progress through each chapter.

One really cool thing about this is the way the chapters are set up, called songs, which matches up with the theme of using vocaloid characters as the focus of the story.

This story also has a lot of cameos from other recognized and popular characters within the Vocaloid community, such as Vocaloid Kamui Gakupo, Fanloids Akita Neru and Yowane Haku and the very popular Utau Miracle Diva, Kasane Teto. They all play into the story very well and in the same funny and charming way Miku and her other leads do.

It's a very fun read for sure, and definitely something to eat up if your a long time or new Vocaloid Fan!

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Song 3: Conclusion And personal thoughts Mix

To be honest, I really liked this. It's not particularly the best thing in the world, but it hits me with a special kind of nostalgia, in the same way Tokyo Mew Mew does for me. I enjoyed this a lot being a long vocaloid fan myself and it's a pretty digestible and quick read if you want something to keep you busy while you wait on deciding on a more focused narrative it might be next you wanna tackle.

I'd rate this a good 7.5/10 (as you've probably already seen), just because it's extremely easy going of a read, though most likely won't capture just anyone's attention overall. It's fanfare at its finest, and again, a fun read especially for Hatsune Miku fanatics and vocaloid lovers.

That concludes today's review! I hope you take some time, maybe consider if you wanna take a gander at the Unofficial Hatsune Mix. I hope you have a great day and keep on reading!!

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MatsudaQko 2023

#manga review #manga and stuff #manga blog #manga blogger #hatsune miku #kei garou #MatsudaQko #unofficial Hatsune mix #vocaloid #manga

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