Category Archives: giant robots

Genshiken, Childhood Comics, and More: Kio Shimoku at Umeda Lateral Talk Notes

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Kio recently had a talk at Umeda Lateral, an Osaka-based live music house and talk venue, to celebrate the release of his new artbook. Below are my notes from watching it. 

(Unfortunately, the VOD is no longer available. Also, screenshots are not allowed.)

There are three people: the host, Kio, and his editorial manager Moteki.

For the event, Kio drew special signboards featuring the Genshiken characters, one per character: Ogiue, Madarame, Sue, Ohno, and Saki.

As previously known, Kio has a very deep voice. 

Apparently, it’s normal for the hosts and speaker to drink on stage at this venue. Kio’s first order was draft beer.

He has been to Osaka before, for work and for sightseeing. Was on the train for 9 hours to get there.

The artbook was not his idea. It was Moteki’s, who brought it up because it’s Kio’s 30th anniversary. Kodansha wouldn’t do it themselves? Moteki actually reached out to him through Pixiv.

Kio wanted to reply, and he got motivated to actually make the book happen.

There were cases where Kio was looking through his old work and thought, “Did I draw this?”

Starting doing digital after Genshiken, starting with Jigopuri. At the time, he still scanned in his pencils, though.

Works prior to that transition were newly scanned for the artbook. He had a bit of experience doing it for the Shinsouban (the special edition that has new covers and changes the nine volumes of the original into five).

Kio admitted that he doesn’t actually remember much of his works before Genshiken. Moteki jokingly expresses concern that this pre-Genshiken period was eight years.

Moteki: Ogiue is a character who really takes the story places, but is there anyone from before Genshiken like that?

Kio: Nope, I don’t think so.

Kio actually doesn’t think Ogiue is that much of a driving force. Madarame was originally planned to be there from the start in some form.

Kio showed early concept notes about Genshiken. At the time, it was still written in kanji.

The original 3 characters were early versions of what would become Saki, Kohsaka, Madarame.

Saki (or her prototype) was the original protagonist. Prototype Kohsaka’s gender hadn’t been determined yet—the character was labeled “Hero (Heroine?)” One note mentions that he maybe looks like Squall from Final Fantasy VIII. 

The school setting was based on Chuo University, just like in the actual Genshiken.

Kio wanted to make the series focused on character gags.

Prototype Madarame looked very different. Labeled as the “Rival.” Second-Year, otaku. 

All the characters are listed with a specialized otaku genre. Proto-Kohsaka and Proto-Mada are both labeled as being into “everything.”

All the characters are labeled as virgins.

Prototype Kugayama was labeled as being a third-year, having a good personality, and also being a lolicon. Otaku genre: anime.

Another character with glasses specialized in games, and another shorter character has manga.

One unused design was a girl who was a second-year. She was a little unattractive, but with big boobs. (This might be the prototype for Ohno, but they look quite different.)

Kio does not actually particularly like kujibiki lotteries. But it is funny that Kujibiki becomes a plot device in Nidaime when all the girls are drawing straws for the order in which each girl has their date with Madarame.

Kio ordered octopus karaage next.

The first gunpla he built was probably the Guncannon. He built it right before the Gundam boom, when he was in elementary school. He has an older brother who was buying gunpla before him. Actually, it might not have been the Guncannon. Kio mentioned not having a good memory.

Did Kio have an inscrutable senpai like the original club chairman? He had senpai, but he wasn’t sure if they were quite like that. But Tanaka was based on someone Kio knew—a person who loved plastic model kits. 

Kio used to build a lot of gunpla and kits, and broke them at the joints all the time. But with more recent models, he remarked that they really don’t break easily. He also compared the old days of gunplay that used polycaps to the improvements of modern kits.

For the scene in Genshiken with the gunpla, Kio tried to break the hip joint of a real model for reference, but it wouldn’t snap. But he wanted to do the scene, so he had to force a break.

He checked with Bandai if showing a busted gunpla would be okay, and they said as long as the break was shown to be by accident and not on purpose, it was okay.

Kujibiki Unbalance was made to be an original parody series because getting permissions for actual things was difficult.

Host mentions that he wasn’t a pure otaku, and it’s because of Genshiken’s numerous reference lines that he got to be one. Chapter titles are references, and Kio had to constantly rack his brain for them. Kio does not consider himself a high-information-retention otaku.

He had a desire to draw and write about the old-style 90s-era otaku of his own generation. 

When Kio got Genshiken serialized, it made him feel like a real pro. When it got an anime he was ecstatic. “It felt like I had won at life.”

Kio was worried that if he tried to make a manga about the newest things, it would quickly feel dated, so that’s why the otaku stuff was more 1990s.

In that time, video tapes were still the standard, and official recordings of the anime were still done on tapes. He was okay with the work, but saw the struggles of the anime’s production in the anime, accepting that those are kind of inevitable.

The host asked about the OVA, believing that Kio wrote it himself, but Kio himself didn’t remember if that’s the case. He did work closely with Genshiken 2, as well as the original Kujibiki Unbalance anime.

Kio mentioned being involved with a scene involving Tanaka and Ohno, and the host instantly guessed correctly that it’s the spicy scene of them getting together. In response, Kio asked, “Why did you know what I was talking about?” It was later that he realized the scenes he drew for the fictional eroge Ohno made Tanaka play were just used straight-up in the anime. 

Kio showed his actual old notebooks.

“It’s not your dark history.”

Kio: But it is.

Kio loved Famicom Detective Club, and made his own story based on Famicom Detective Club II.

He wanted to make a manga of Ghibli’s Laputa in middle school, so he drew one. Here, he showed it to the audience, page by page. He even did the title logo. However, as he turned each page, he would have his eyes closed because he didn’t want to look at them.

(It actually looks really well drawn for a middle schooler.)

Kio actually wanted to change the story partway through in a way that would make it more interesting, but he couldn’t quite decide on where to take things after they get to the fortress, so he stopped drawing it.

Another notebook is filled with his attempts to draw like Miyazaki, clearly copying famous Nausicaa images. He also feels embarrassed about these.

He also showed that he made lots of drawings of Elpe Ple from Gundam ZZ.

He didn’t watch Gundam as it aired, but he did keep up with Dunbine and L-Gaim in elementary school (4th grade, 6th grade, thereabouts).

Also showed a piece of fanart for Metal Armor Dragonar in there, along with a drawing of the Queen Mansa from Gundam ZZ.

Because Kio was clearly into fantasy-like settings as a kid, the host asks if he ever wanted to make manga along those lines. Kio says that he actually worked on a real manuscript from high school to college. “Any plans to announce it?” “None.”

After the break, Kio got a lemon sour. Host a highball. Moteki got another draft beer.

Host talked about how some people considered Nidaime to be like a fan sequel. After the first series ended, everyone tried to imagine what would come next.

Kio got back to drawing Genshiken after doing the art for a budget edition box set of the anime (the ones with the white cases), which led to the one-shot, and then he was asked by Kodansha if he could come back for a short run, like a single volume. (Nidaime ended up running for 11.)

Kio hadn’t planned to resolve Madarame and Saki. Couldn’t it have just ended at the school culture festival?

The second half of the talk was Kio answering questions they had received from fans.

Will Spotted Flower get an anime?

Kio: That’s not up to me.

There are also challenges to getting a story like that made into anime. If he had to say whether he’d want one or not, he’d say yes.

What was a gathering spot for otaku in your days?

Kio was only in a circle for half a year. But there had to have been a place where people gathered to draw.

Kio was in the art club in high school, but it didn’t have an otaku feel. Same for middle school. But the otaku in middle school did meet up after school.

Kio actually bought his own Neo-Geo machine! They reminisced about the massive cartridges.

What works are you into recently?

Manga: A current work in Harta magazine by the author of Hinamatsuri, Ohtake Masao, called J⇔M.

Doesn’t watch dramas. Closest is taiga historical dramas like Kimi Hikaru e.

Couldn’t decide for anime or movies (mainly watches anime movies).

If you drew Genshiken now, what would the characters be into?

VTubers, not that he knows much about them.

Moteki mentioned that Kio must have done research about fujoshi circles and slang for Nidaime, but Kio said he was doing it since the first series. He got some things wrong, though. In college, Kio was surprised to discover fan-derivative works and 18+ doujinshi in college (much like Sasahara).

How did you decide who Madarame would end up with?

Kio didn’t even know who it would be as he was drawing it. He was thinking of having it conclude with Madarame alone, but he actually said to himself, “Are you really going to end it this way?” Even he as the author couldn’t accept that.

Moteki: When it comes to The Fifth-Year and Genshiken with Ogiue, these characters realized about the kind of people they are, and it helped them decide on their feelings. But Madarame even to the very end did not have that self-awareness.


Also, lots of people thought it’d be Sasahara’s sister, because she’s so similar to Saki.

Kio: Yeah, even now. When you mention it, that pairing could’ve worked. But I wasn’t thinking about Saki (or Keiko’s similarities to Saki).

Kio-sensei switched to tablet in Nidaime. How was it?

Actually, Kio switched during Jigopuri. Back then, he still drew the manuscripts on paper and scanned them in before doing digital drawing over them. Eventually, he switched to all digital.

Is there something you feel about the Otaku of the 2010s and 2020s?

Based on what he sees with his daughter and her classmates, it’s almost like there’s not really a distinction between otaku and non-otaku. 

Host: Even gyaru are into Frieren.

Kio: Maybe there’s no need for a series like Genshiken anymore.

Kio wanted to do Nidaime as a series where there were more members of the club who were like Ogiue and Ohno along with one new male character. However, he actually thought up a version with a more typically masculine guy, but thought it felt a little too normal. 

Host: It’s like the barrier between otaku and non-otaku is gone.

What’s important to remember while making works?

Kio: I can’t really think of anything. Maybe, if you think of it too much like work, you’ll lose what makes it unique. Don’t try too hard to make a “manga-like manga.” Don’t focus on how things are supposed to go at the expense of making it interesting.

Genshiken wasn’t intended to capture the zeitgeist, but it ended up doing so.

Did you see the online reaction to Genshiken or the doujinshi during serialization?

Kio did not look at comments. The people at Kodansha looked at it though. 

Kio bought all the doujinshi of Genshiken he saw. Didn’t have any problems with any content, knowing that it’s up to the doujin creators. He might occasionally check out the website of one of the artists. 

He got some of them for the Genshiken 8.5 doujin project.

What was it like working for Afternoon?

Thought of Shounen Sunday first for Kodansha, but Kio remembers Parasyte being a big title. Minor no Pride, Major no something (a cooking manga).

In response to Ogiue is drawing for Afternoon in the manga: “It’s meta.”

What do you think of making H-manga?

Kio always wants to do it. He’s working on Part 2 of his doujinshi project, and the manuscript has gotten to 134 pages. 

Moteki: What was the reaction to you announcing an 18+ doujinshi? Was it like, “Here we go!!!”

Not a particularly strong response, but when Kio posted it on Fanza (an adult site), some people who were fans asked him if it’s okay to do this at his age (he’s 50).

Can you do a live drawing?

He was unsure of his live drawing ability. Before the talk, Kio ended up putting a lot of time into the five signboard drawings at the talk, as well as the 30 that were included in specific copies of the artbook.

Host and Moteki tried to convince him, but no go.

Will there be more Genshiken merch?

It’s not up to him.

A lot of questions about how Kio decided who Madarame would be with, actually.

Are there any characters who acted in ways you didn’t intend?

All of them.

During the nose hair chapter (with Saki and Madarame), Kio planned to have a story about that, but went at it by thinking “What would the characters do in this situation?”

Before a manuscript, he’ll draw freely. For Genshiken, it’s like the ideas would just readily come. When drawing the characters, he would think about how they would behave. He compares figuring character’s lines to taking a dust cloth and wringing it tightly until the exact words drip out. 

Moteki: In terms of characters moving on their own, Ogiue is a well-known example, right?

Kio had considered sticking her with Kuchiki as a kind of “mutually cringe couple.”

Kio is unsure of what he needs to do in serializations. With one-shots, in contrast, it’s harder to play around. He’s still not sure what to do.

At first, Kio didn’t use any assistants. But that’s when he was young. Now he’s 50 and he can’t do the same anymore.

Weekly serialization is the “territory of monsters.” Knowing what weeklies are like, he understands the need for assistants there. But if someone came to him asking if he could do one, he’d consider it and try to figure out a way it could work.

Kio worked as Takano Fumiko-sensei’s assistant, but for only one day.

What otaku works or genres have you been into recently?

He watched some of Usada Pekora playing Elden Ring. He’d have her on as background noise while working on manga.

He also listens to music while thinking up ideas and working on manga. When he’s doing tasks with not a lot of information, he uses ambient noise. When doing the initial drawings, he listens to stuff like J-Pop. After that, more editorial/critical Youtube channels. 

What have you enjoyed recently?

Kio has a hard time thinking of anything, but he did travel to Gunma recently. He went to Ninja Gakkai, a ninja education camp.

Among your works, are there any scenes that stick out most in your memory?

The first thing that came to mind is the nose hair story, particularly when Madarame leaves the clubroom and is looking back at it from the outside across the courtyard, and you can see the light in the clubroom still on.

Moteki: Which character is your type?

Ohno, in terms of sexiness. The scene when she first appears in a mask is an example of her heroine appeal. Though Kio’s been told that the shifting heroine focus for Genshiken is unusual: from Saki to Ohno to Ogiue.

“How did you think of a plot like that?” 

“I didn’t.”

Moteki likes Saki best. So does the host.

The signboards got raffled off at the end!

Bringing It Home—Gundam Reconguista in G Part V: Crossing the Line Between Life and Death

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Ever since the original Mobile Suit Gundam, works in the Gundam franchise have tended to end in space. Whether it’s a sequel or an alternate universe, they typically leave the confines of Earth for a big battle among the stars. But Gundam: Reconguista in G is different: It starts on Earth, has its characters venture into space, and then returns home for the final battle. This is where we find the characters in the fifth and final movie, Crossing the Line Between Life and Death, and I think the decision to conclude the series there ends up emphasizing all the messages laid through G-Reco from the beginning. Whether those messages are clearly conveyed is another matter.

Bellri Zenam and the rest of the main cast have been to the far-off Venus Globe, the collection of space colonies near Venus. They saw a society far removed from the ravages of Earth, where people are taught that war is barbaric, but who sometimes fail to see the latent barbarism in themselves. Having gone back through Towasanga on the far side of the moon, they now are in Earth’s orbit where, once again, the different terrestrial supernations are all vying for control of resources. At this point, characters and groups have switched sides so many times that it can be difficult to keep track of who’s fighting for what, but that’s less important than the simple reality that factionalism still persists. Bellri, Aida, and the others aim to head their own direction and fight their own way, neither entirely separate nor fully entrenched in any one side.

There’s one scene in particular that I think encapsulates the final film and the series as a whole: As the various forces battle in Earth’s orbit, they’re forced to undergo atmospheric entry. It’s a return to one of the more iconic scenes from the original Gundam, where rival character Char Aznable has to give the unfortunate news to one of his troops that the poor guy and his ill-equipped mecha have gotten too close to the planet and their death is inevitable. We see history repeat itself as various characters have to decide what to prioritize (attempting a safe landing, trying to get an upper hand in battle, retreating, etc.), and it feels like the folly and hope of humanity both never die.

Speaking of death, there is no shortage of lives lost. Some are more fascinating to me, like a certain character who might have actually been a Newtype. The important thing is that this person is also a dumbass, as if to say that we shouldn’t worship Newtypes or anyone who’s supposedly the next evolution of humanity and its savior. The biggest death is also so unceremonious and kind of random that it feels very fitting—a warmonger hoisted by his own petard.

One major change from the TV series is the actual epilogue, which has been expanded greatly. The new scenes emphasize the fact that changes come only in bits and pieces. Human beings, whether born on Earth or in space, seem to adapt to their circumstances, and beliefs don’t just change overnight. On top of that, many of the characters are young, so while they may have fought in many life-or-death battles, that doesn’t have to fully define who they are or will be. The ultimate message might be that people, but especially those still possessing youth, can break through all the entrenched barriers that previous generations have erected.

In looking at the Gundam: Reconguista in G movies in total, it’s safe to say that they should be the definitive way to experience the series. It clarifies and expands on the TV anime, is better paced, and just conveys more of the world and its complexities. G-Reco is able to show itself in the best light, and for those who dismissed it the first time, I think this is a great opportunity to experience one of the most unique entries in Gundam.

(Happy 10th anniversary, G-Reco.)

Kio Shimoku Twitter Highlights September 2024

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This month featured a special live talk with Kio-sensei himself, as well as reactions to his artbook!

Kio enjoyed a panpanya interview in Rakuen.

Having seen the anime movie The Colors Within, Kio points out how the images look euphoric and characteristic of director Yamada Naoko. There are also very few long shots, making the movie feel very personal and character-focused.

Kio describes being happy to discover that manga artist Nakano Deichi is able to make a work like h na h to A-ko no Noroi, which has a different feel from his previous works. 

Fantasista mascot Sis-tan really likes Hashikko Ensemble, and she tells Kio why she likes the character Hachida Shinji so much (she also likes Orihara). Essentially, Hachida can’t seem to leave others alone, like when they’re going through hard times (e.g. Orihara, Masshy).

Kio replies that he pictures Hachida having an older sister who’s actually a yankii, and that he actually has a lot of experience with tough guys. Also, Masshy has light footwork, and knows how to interact with those who take singing very seriously.

30 people got special copies of Kio’s artbook with an exclusive autograph and sketch, and they’ve been sharing them with Kio on Twitter.

https://twitter.com/kioshimoku1/status/1833194639052181753

Kio loves the Turn A Gundam novels so much, he’s read them countless times. He was originally shocked at where Tomino concluded the anime, so he was glad the novels show what happened after that. The fact that the series is all about the consequences of the foolishness of humanity is very “Tomino.” He has felt that this is the kind of thing he could not pull off as a manga artist. He also praises Turn A mecha designer (and legend) Syd Mead.

https://twitter.com/kioshimoku1/status/1834159050067673116

Thumbnail sketches for possible artbook cover illustrations.

Kio did not tweet his own reaction to the death of voice actor Shinohara EMi, but he did retweet these drawings from Togashi Yoshihiro, author of Hunter x Hunter and husband of Sailor Moon creator Takeuchi Naoko.

https://twitter.com/kioshimoku1/status/1834960912773722494


He took a day trip to Gunma (but not Karuizawa).

Kio got a haircut for his talk at Umeda Lateral.

He also had to gather a lot of old material for the talk, including work he finds embarrassing. He wonders if this is going to turn into a cringe session for him.

“Well then, see you tomorrow in the clubroom.”

Kio questioning the right kanji. Replies mention confusion between 補足 (supplement, complement) and 捕足 (catch, comprehend).

With summer ending and some work concluded, Kio is feeling that he should start something new. In the meantime, he declares that he will finish his doujinshi.

Someone asks if Kio will make another LINE sticker set. Kio replies that he’s thinking more about creative work.

Kio laughs at a joke from someone saying that “Nose hair” could be an indirect way of saying “I love you,” similar to “The moon is beautiful.”

Kio read Volume 2 of The Kinks, a manga by Enomoto Shunji. While reading the serialized version Kio, always finds himself going “Well, that’s a first!”

He also saw the Overlord movie.

And the movie Samurai Time Slipper.

Kio purchased the L-Gaim blu-ray set that comes with the official artbook.

https://twitter.com/kioshimoku1/status/1839937375998489028

Kio showing a case full of his drawing tools from when he still worked analog. He’s having trouble remembering how to use them.

The talk at Umeda Lateral also had a raffle for special signboards with art by Kio. The person who won Saki’s also happens to be an artist. Here’s Kio thanking him for some Saki fanart.

Kio Shimoku Twitter Highlights August 2024

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The latest side chapter of Spotted Flower! Available for free only for a limited time.

The site for Kio’s artbook is showing off updated samples.

https://twitter.com/kioshimoku1/status/1819260009764868503

Kio visiting his section of the Rakuen: Le Paradis gallery in Shinjuku. He also bought all the postcards and pins.

He also informs a person replying that all the images are not actually analog, but merely recreations made to look as such. Kio currently works digitally.

Kio and a few other Rakuen artists had a talk show at Comitia 149 on 8/18.

After many days, Kio finally beat the final boss of the Elden Ring DLC. He had to consult online videos, and there’s still some stuff in the game he can’t seem to access.

https://twitter.com/kioshimoku1/status/1822990543208813044

Kio showing off his drawings of packed bookshelves. Left is Spotted Flower v7, right is the artbook.

More images from the artbook! The book is going to be 160 pages.

https://twitter.com/kioshimoku1/status/1823565710255382836

The actual cover!

Kio is impressed by someone’s Genshiken shrine.

Kio is going to have a talk event to celebrate the release of his new artbook on 9/16! What’s better, there’s actually going to be a live stream! 

https://twitter.com/kioshimoku1/status/1824094746610147411

Kio finished reading the manga Ijin Gahou Mitsumine Tooru, calling it a must-read in a tongue-in-cheek fashion.

Kio was apparently at a fun drinking gathering with the manga artists Ichihara Hikari Z.

Heeding a reply reminding Kio about Mizuki Shigeru’s words regarding the importance of a full night’s rest, Kio actually goes to bed.

Reacting to the death of voice actor Tanaka Atsuko (Motoko in Ghost in the Shell, Bayonetta), Kio says it came way too soon and gives his prayers.

Kio is thrilled to see a new special edition of the manga Mujina by Aihara Kouji.

Kio reacting in grateful shock to a fan who bought multiple copies of his artbook to try to win Kio’s autograph.

As of August 25, only half of the 30 autographed copies of Kio’s artbooks remained.

One lucky fan got the autograph and was surprised to find out that it also came with an illustration! Kio apparently drew a wide range of characters for them.

Kio talked a lot for his artbook interview. He says people might learn a lot about him.

Kio Shimoku Twitter Highlights July 2024

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New chapter of Spotted Flower came out at the end of last month, which is now followed by a new volume of Spotted Flower too!

https://twitter.com/kioshimoku1/status/1807270496565641715

New chapter of Spotted Flower!

https://twitter.com/kioshimoku1/status/1809110684917248425

Kio’s tortoise will just walk around his room and randomly poop and pee, so Kio got it a diaper made for cats.

Kio retweeted a t-shirt of the Fantasista mascot Sistan, which has art by Koume Keito (who worked on the Kujibiki Unbalance manga. Sistan thanks Kio, who responds that this makes him happy.

Kio attended an event of “like-minded people,” and went to the afterparty despite initially being hesitant. Turns out he enjoyed it.

The tortoise keeps waking up one hour earlier, messing up Kio’s sleep. He can hear it walking around and breathing.

Kio wishes manga artist Kusada a happy birthday.

The electricity and water were out in Kio’s apartment, so he went to a super sentou (large bathhouse) and had a good time. Kusada and him talk about how losing power and plumbing should be a bad thing, but the bathhouse makes for a great way to relax.

Kio contributed art to a special Rakuen: Le Paradis 15th anniversary exhibition (and you can buy a replica if you’re in Japan!). He also realizes that he’s been a manga artist for 30 years, and half of that was with Rakuen doing Spotted Flower.

30 pages inked (out of 134) for the sequel to Kio’s 18+ doujinshi.

https://twitter.com/kioshimoku1/status/1812328649066266919

Kio rewatched the live-action version of his doujinshi, appreciating how the second half is original material that deviates from his version.

Spotted Flower Volume 7 on sale 7/31 (That’s today!). Kio recommends reading it together with Volume 6.

Kio agonized a lot over what to do for the jacket and the underjacket cover of his artbook. 

After retweeting the announcement of the upcoming Ranma ½ remake, Kio thinks the series might be a major influence on why he’s into trans characters.

Kio concurs with Kusada about how great it is to draw the part of the pelvis that sticks out.

Kio thought he managed to get a manuscript done, but it was only one page’s worth of progress.

Kio is reviewing the interview included in his artbook.

Kio is saddened at the death of Ohara Noriko, the original voice of Nobita in Doraemon and Conan in Future Boy Conan.

Kio mentions something vague about remembering something huge and is worried about making it in time, but manages to do so.

The layout and comments, plus the interview page, are all set for the artbook.

https://twitter.com/kioshimoku1/status/1817037873582952810

https://twitter.com/kioshimoku1/status/1818478710523338920

Spotted Flower v7 comes out 7/31 (that’s today!). Note that there are a number of Japanese stores with exclusive bonuses.

Kio managed to get past a part in (I assume) Elden Ring that didn’t have anything to do with gestures or outfits or story stuff.

Kio Shimoku Twitter Highlights June 2024

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The big thing this month is the announcement of the Kio Shimoku artbook! Also, a drawing of Darkness from KonoSuba!

Kio is going to have an artbook! (I wonder if this is why he’s been posting high-quality images of his old art over the past year or so.) More details here.

He wondered when would be the right time to release the book, and reflects on the fact that it’s been 30 years since he started his manga career.

The pre-order art is actually high-quality reproductions of the original, so you can see all the little guide lines and other marks in the images.

The artbook will also include an interview with him.

Kio has a color illustration job deadline coming up, so he’s been plugging away at it little by little. He thinks he can finish in time. That said, he has a lot of other work due the week after. It also means he can’t work on his ero manga. 

https://twitter.com/kioshimoku1/status/1798241185150255131

Kio’s tortoise has been a hyper little hellion (as far as tortoises go).

Terry and Mai from Fatal Fury will be in Street Fighter 6. Kio is surprised at the news. One commenter says they’re looking forward to seeing Sue in SF in 15 years, to which Kio says maybe in 30.

https://twitter.com/kioshimoku1/status/1792587350675009766

It turns out this drawing from last month is for the cover to the artbook! It’s one of his characters from an older work (I think the Yonensei/Gonensei series?).

Kio went and saw the Bocchi the Rock! movie. He really liked the music and performance scenes.

Excited for the announcement of Delicious in Dungeon anime season 2.

Kio bought all of the original Oblivion Battery manga out, only to find out that it doesn’t progress as quickly as the anime. Now, he wishes he stuck with just the anime.

There’s a Yasuhiko Yoshikazu and Koizumi Yuu exhibit titled “Modern Japan and Russia/Soviet.” Kio couldn’t go the previous day but has decided to check it out.

https://twitter.com/kioshimoku1/status/1802703437983105069

A drawing of Darkness from KonoSuba!

Kio is shocked that the anime is only up to Volume 7 of the light novels, which currently have 17 volumes out.

While waiting for a Pre-DLC Elden Ring update to download, Kio works on his ero manga and gets a page done. He’s also wondering how the hell he’s listening to an audio book of Buddha’s Teachings while working on said 18+ comic,

Working on the ero manga and also walking his tortoise. The reptile is unusually fast.

Knocking down his deadlines one by one.

Elden Ring download done.

Otomo Katushiro is releasing an album called Akira Remix. The Otomo recent cel exhibition was playing music from it, and Kio remembers going to the exhibition and hearing the music the whole time.

Revisiting “The Transformers: The Movie”

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The 1980s Transformers movie looms large in my memory. I can still feel a part of me reacting to moments I first saw when I was maybe five years old, watching a VHS recording at a neighbor’s place. But I hadn’t experienced the full film itself in a very long time, only sometimes revisiting iconic moments on YouTube, and I wondered how I would view it through the eyes of someone well past childhood. 

There are a few things I’ve come to realize by watching The Transformers: The Movie again. Namely, I can see even more clearly why it was such a cultural touchstone for the young fans, and why it was so confusing and strange for adults. To the parents, film critics, and other older folks, Transformers likely spoke in a visual language that was disorienting and didn’t bother to differentiate characters in ways that made sense. 

But the kids, including myself, were essentially raised on the kind of collect ’em all mentality that involved different color schemes for boxy robots. Certainly, collectible toys existed in the past, but this was a post-He-Man world, where the sheer variety of action figures were tied to unique personalities that kids could know and love (or hate). Much has been written about how the death of the heroic leader Optimus Prime was a turning point/moment of trauma for a lot of children. 

Younger people reading this might wonder why this was a big deal beyond the obvious pain of having a fan favorite pass, but the key thing to know and remember is that death was unheard of in cartoons of the 1980s. No one ever got permanently hurt, lasers and guns would blow up vehicles but never people, and each episode’s ending reset to a status quo so that shows could go on forever, or even run episodes out of order if need be. What makes this all the more astounding is that the decision to kill off Optimus—and a large chunk of the cast—was the result of a cynical decision to make way for new toys to sell. The people in charge thought that the children saw Transformers as playthings, only to realize that they had introduced fascinating personalities and role models to which those kids could get attached. Even if the catalyst was simple capitalism, the result was an awareness of the power of fiction. 

One thing I realized anew is how the relationship between Starscream, Megatron, and Unicron plays out. Throughout the original Transformers TV cartoon, Starscream is a conniving soldier whose ambition is to overthrow Megatron and take over as leader of the Deceptions. He also never truly succeeds because he’s a coward who jumps the gun at the slightest sign of weakness, only to have it all backfire. On top of that, Megatron is simply more powerful than him, and he can’t hope to actually win in a fight. 

But when Starscream sends a weakened Megatron to his death, and the latter is exposed to a being far beyond him in the form of Unicron, it becomes clear just how very similar Starscream and Megatron are. Much like Starscream, the normally arrogant Megatron is quick to capitulate when threatened with real harm, but is also just as opportunistic—working towards betraying his new master by trying to obtain the Matrix, the only thing that Unicron fears. The only difference is that Megatron is more patient.

Another takeaway: The movie is basically a series of incredible vignettes kind of sloppily stitched together. The story as a whole is about passing the torch and discovering your potential, and individual scenes have some of the most impressive animation of all time, but the whole thing often feels loose and disconnected. It’s why watching clips of the high points on YouTube or whatever is so effective. Moments like the deadly battle between Optimus and Megatron, the Decepticon leader’s transformation into Galvatron, and the moment when Hot Rod fulfills his destiny with the Autobot Matrix of Leadership never fail to give me goosebumps. The weaker parts I can safely file away in the recesses of my memory. 

If you speak the “language” of Transformers and the kind of merchandising that is its legacy, everything about this movie makes sense. If not, then it all falls apart. I’m curious as to how newer generations of viewers—especially more recent Transformers fans—view this work. It’s a classic in my nostalgia-filled eyes, and I acknowledge all the ups and downs that come with such a perspective.

The Psychological Price of Distance—Gundam Reconguista in G Part IV: The Love That Cries Out in Battle

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It’s been over two years since my last review of a Gundam Reconguista in G movie. In Part IV: The Love That Cries Out in Battle, the series continues to gain new life as a more cohesive work compared to the original TV series.

G-Reco is about a world centuries after the Universal Century era of the original Gundam. Humanity has crawled back from the brink of extinction, leading to a ban on the old UC technologies and a rationing of energy. However, conflicts still remain, and people are cut into various factions. 

At the end of Part III, protagonist Bellri Zenam inadvertently activates the Crescent-Moon Ship, a space-faring vessel that’s meant to lead them to Venus Globe, where the batteries that are meant to provide power to Earth. However, right as Part IV begins, Bellri and those traveling with him are confronted by a group from the G-IT Laboratory, a technology research facility that views the war-prone Earth-born with disdain, and wants to take both the Crescent-Moon Ship and Bellri’s mobile suit, the G-Self, for their own. From there, the film continues and amplifies many of the trends of the previous film, like the importance of understanding individual characters’ motivations, as well as the ways that people’s environments can affect their views on society and civilization. It sees the furthest reaches of humankind before drawing the characters back towards Earth and juxtaposing all these different ways of thinking.

A recurring lesson emphasized throughout is that people can have different blindspots depending on their proximity to Earth and its issues:

  • The character Aida Surugan (newly discovered to be Bellri’s sister, to his chagrin) questions why energy has to be rationed when so many people suffer, but other characters point out that she’s been affected by “Amerian” indoctrination that fetishizes “freedom.” 
  • The mobile suit pilots of the G-IT Laboratory are quick to judge those from Earth for their legacy of war and death, but they also imagine themselves as glorious fighters who just haven’t had the chance to really show their stuff, and they incorrectly assume that the weapons they wield indiscriminately won’t cause the same problems. (Their similarity to Gym Ghingham in Turn A Gundam is probably no coincidence). 
  • The inhabitants of Venus Globe appear to live in peace while faithfully honoring the heights of Earth’s civilization, but they are largely ignorant of what happens on Earth, and their abundant luxury masks greater health issues that come with both living in space and seeing themselves as the far-off arbiters of Earth’s ability to sustain itself. 
  • Capital Army leader Cumpa Rusita (the closest thing the series has to a main antagonist) is motivated by his disgust at the physical deterioration of the space-born, and this has led him into being a Social Darwinist who believes conflict is the key to restoring humanity’s greatness. 

It’s as if the goal of G-Reco is to highlight how people often think that they now see the big picture, but their perspective is far more narrow than they realize. Or even if they don’t miss the forest for the trees, their failure to also account for the trees is in itself a flaw. 

I think I give the impression that G-Reco and this film in particular are very serious with all the political and speculative philosophizing, but the series can also be refreshingly lighthearted at times. There are many scenes devoted to daily or mundane activities, like running to sweat out any toxins that come from space travel, or stepping on a robotic scale to check weight. Noredo Nug and Manny Ambassada have an almost “Scooby and Shaggy”-like presence with their antics that’s more understandable rather than annoying. All this actually adds a lot to conveying the idea that these are individuals with lives of their own, and adds a touch of joy to the worldbuilding of this series.

As for Bellri, he seems to embody both the silly and the serious, which might be why he’s the main character. In the same movie, you see him continuously calming his libido by remembering that the girl he’s into is actually his flesh-and-blood sister, and then showing incredible frustration at how many of the people he fights can’t see beyond their own nose. When he uses a new weapon to try and slow down conflict only to unleash a never-before-seen power that leaves all sides horrified and bewildered, Bellri immediately reacts with genuine disgust. 

With the original G-Reco TV series, a good part of my overall positive review of the series had to do with how the last few episodes play out. The final film, Part V, is next—I get the feeling I’m going to enjoy this finale even more.

Kio Shimoku Twitter Highlights May 2024

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​​Not very many tweets this month, but starting off with some fun insight into how Spotted Flower has changed.

Kio laments that Spotted Flower (a series that was once supposed to be simple and easy to draw) now has a huge cast, places he’s never drawn before, things that require photo references, and an increased page count.

It’s been 10 years since Kio last watched The Piano, a movie that apparently shook him with the level of NTR it features. In hindsight, he realizes this might be why he likes the movie so much.

Kio believes that the manga artist Kusada has made some kind of breakthrough in portraying the cuteness of their character Kurono.

https://twitter.com/kioshimoku1/status/1790741193804136953

A drawing from the 18+ work Kio is currently making, showing the mom from the first doujinshi he did.

https://twitter.com/kioshimoku1/status/1792587350675009766

Mysterious drawing.

Kio drew a special piece for the current anime Train to the End of the World.

https://twitter.com/kioshimoku1/status/1793907181206794717

Turtle door! 

Crawling Through the Dark: End of Evangelion

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In March, I went to a screening of End of Evangelion. While it wasn’t my first time seeing the movie, it had also been many years, and this was actually the first time EoE had been released in theaters in North America, courtesy of GKids. 

Evangelion as a whole is a major part of my history as an anime fan, culminating with the Shin Evangelion movie. But two decades ago, End of Evangelion was one of those works that blew apart my preconceived notions about what animation could do. The emotional turmoil, the horrifying spectacle, and the beautiful animation all worked together to leave a lasting impact on my psyche. 

It’s interesting to have again seen this film in full, now with the context of my own lived experience and where Evangelion has gone since then.

End of Evangelion is a sort of alternate version of the last two episodes of the TV series. Rather than taking place purely in an abstract world consisting of the collective minds and souls of its characters, things are based more in the physical world. After NERV defeats the last of the Angels, its secretive parent organization SEELE betrays NERV, and the ensuing carnage sends its already traumatized heroes spiraling down even further.

Ikari Shinji has long been the poster child for angsty teen protagonists, and it’s easy to see here why he could be both a very relatable character and an endless source of aggravation for viewers. As the people on his side and close to him are literally gunned down in cold blood, Shinji is unable to act. It makes me want to shout, “Get out of your own head, damn it!” And that admonishment more or less happens in the movie itself. But Shinji’s perspective is also one that hits close to home: He’s screwed up so many times that he thinks doing nothing is literally better than trying at all and inevitably making things worse. When you only see yourself as a source of failure and disappointment, it can be hard to take even a single step forward.

But when Rei initiates Third Impact, the apocalyptic event that’s meant to bring everyone’s souls together and reform humanity as the single entity it began as, Shinji does something surprising: He rejects this future that would ostensibly solve all his problems with human connection. It turns out that Shinji isn’t satisfied with a happiness that is handed to him, even if it would be a realm of sheer bliss. He wants to achieve self worth by going out there and finding it himself. The process itself, and the authenticity of the success, is paramount. It’s not so much that reality is about suffering, but more like telling someone who’s trying to plant a flower (and is incredibly bad at gardening) that you can just buy them an entire field of flowers that’ll be tended by the world’s best botanists. 

The ending scene is one of many scenes that have long generated discourse, and thinking about it from the perspective of dreams vs. reality has me reconsidering its outcome. In the aftermath of the Third Impact (or at least its attempt), Shinji finds himself alone with Asuka. Seeing her lying prone, Shinji starts to strangle her, repeating an earlier “action” he took while being confronted in his mind about the way he desperately tries to avoid loneliness. But to his surprise, Asuka’s hands gently brush against his face, and this causes Shinji to let go. Asuka then says, “Disgusting.”

I see Shinji’s actions as indicative of him doubting that he’s out of the dream-like Third Impact, only to be thrown off by Asuka being very different from what he saw in his own mind. The compassion and disdain are both there, beauty and ugliness all mixed together. Reality is where dreams end, but it’s also fueled by those same dreams. It’s a messy world where Shinji can once again try to make a genuine connection, even if they’re the last two people on Earth.

To me, the essential difference between End of Evangelion and Shin Evangelion has to do with their relationship with depression. EoE is what you get when you’re caught up in it and are trying to provide hope that there’s a way out. Shin Evangelion is the result of someone who managed to overcome that depression and can tell you the other side is real. 

I’m glad Anno found his light.