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    Zen Migawa
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When you're not sure what to do anymore
When you think about it, and it hits you...
When eyes tell you everything.
I have to respect the engravers who were responsible for producing the original dollar prints for the US Mint.
Cross-hatching is NOT quick and easy.
...the rest follow.
How impatient.
This is why things've been quiet recently.
Hiya guys! Apologies for keeping quiet on this comic. I drew this to explain what's going on currently. It is as the hogboy says.

I am going back to my Pokemon fancomic ( and drawing a side story for it in order to re-engage with the audience there. It's going to be done in three parts, uploaded over the spring season of each year this year and afterwards (i.e. Part 01 is gonna be worked on spring 2018, Part 02 for spring 2019, etc.). It's my hope that I can draw those kids towards this comic in the end, after having finished reading that comic. Gotta increase my visibility as a creator, y'know.

So what this means is that I'll start working on Chapter 3 in late spring. I hope I can finally get things ramped up in Chapter 3, with actual Fragment-to-Fragment fights and schoolyard drama and all that good Mon battling stuff. I appreciate everyone's patience in the matter, and if you're curious, hop on over to the Welcome to the PCA! page and give that one a gander as well!
Vast chasms from one heart to another.
It feels terrible when someone you care about doesn't return your words, doesn't it?
Uncomfortable silence.
So... what now, eh?
*Technically* missing, but...
Snarky snark.
Dude, you're passing up on groupies...
That Mienshao's fun to draw.
Or an added flavor thereof.
Cross-hatching - aerobic bullshit for your wrist and fingers.
Also, remember to read this LEFT to RIGHT! This comic is primarily being written for Western audiences first!
Public music exams, always a spectacle.
Ugh, drawing Leon's guitar drove me nuts.
So close, yet so far...
Time skip: one semester forward.
Sometimes you'd rather just embrace oblivion than fight to the last.
The cover for a Welcome to the PCA! side story, part 01 of three.
There's no earnest proxy combat to bridge the gap, this time.

It's my hope that I'll be able to upload each part every spring, the way I did with the main PCA comic back in Japan. So barring any personal catastrophe that forces me to stop focusing on comics, you can expect part 01 to be finished by the end of spring 2018, part 02 in 2019, and part 03 in 2019. Look forward to it!

Also, since I'm making this comic for a Western audience, be sure to read this comic LEFT to RIGHT this time!
The image is being auto-resized, so here's the link for the more proper-sized WEB version.
@WindowMaker: Ah, the Creative Commons license applies to the docu-manga itself only.
@WindowMaker: Think of "Takagi no Honozume!!" as the one-shot prototype version. A lot of elements in that will be recycled or reworked for "Masazume Wars".
Larger version available
SmackJeeves keeps resizing this double-page spread to the size you see here, making some things hard to see.

I uploaded a larger (i.e. more proper-sized) version here:
Manga goes on, for eternity.
Seventh and last one-shot. That marks the end of this webcomic series.

To those who stuck with me from beginning to end on this, I hope you found something worth taking with you away on this, and I hope you enjoyed reading some of it.
Let me tell you a story of my people...
The seventh and last manga assignment: my graduation project. Despite the leaps and strides in progress I've made the last four years, I came into my last semester burned out from and disillusioned with manga - the pressure to meet deadlines, unrelenting criticism from teachers and editors, crushing self-doubt, and a complete lack of breakthroughs. (And this was only school, mind you!) I was ready to return to the States, and more than willing to forget the past four years ever happened to me.

But before that happens, I felt I needed to speak on behalf of the other students studying abroad in Japan, fueled by the dreams and admirations of the Japanese entertainment industry, only to slam face-first into a cruel thing called Reality. No one ever talks about their stories in depth, not even the teachers who've tried so hard to make the dreams of these foreigners a reality. A handful of foreigners succeed for a few years before returning to their home countries - the rest simply return straight back home, only to fade from the minds and memories of their Japanese environment.

There it was; I had one last mission to do before I disappeared myself. So I started writing...

27 pages, all digital, all Comic Studio EX. Drawing major inspiration from webmanga blog "AshiMeshi" and Hiromu Arakawa's agricultural comic essay "Hyakushou Kizoku."
And they soon form a central band of five!
Sixth one-shot down. It has everything I wanted to draw - shonen action, monsters and creatures, hot-blooded spirits, and LOTS OF SPEED LINES, and I loved drawing every page of it. It's also the first manga all my teachers jumped up and told me, "Hey, this manga's fun to read! This is it... this is YOUR voice!" So it seemed like things would finally fall in place with this one story.

Shown to: [Shueisha] Saikyo Jump, [Shogakukan] CoroCoro Comic
1) It's... not very well-planned. It reads like a dojinshi, where the author just lets his imagination run wild, with not too much foresight for plot holes and bad characterization.
2) Readers (read: Japanese elementary schoolers) may find the American setting alien and off-putting. It's best to have the setting as recognizably Japanese as possible. Use heavy references, keep detailed observation notes, and consult native Japanese as much as possible in that case.
3) The art's stabilized compared to past works, but there are still art inconsistencies from panel to panel, making the same characters look different as the work progresses. The art needs to improve.
4) Having a boy fight a girl is going to make readers uneasy, no matter how tough the girl is. Better to have the rival be another boy.

1) The author's burning sense of fun and enjoyment for the subject material, and the earnestness given to the story overall makes it very hard to reject.
2) While very rough in design, the conscious inclusion of monsters and gadgets as a central element of the manga will appeal quickly to kid readers, and opens the door to a lot of merchandising opportunities.
3) The overall composition, message, and feel of the manga lends strongly to the role manga plays for kids: giving them dreams and aspirations. This is an artistic direction the author should stick with.

[Received business card from reviewing editor at Saikyo Jump.]