notes about this doujinshi...
at this point merely dipped a proverbial toe into the great ocean
of Japanese language, and I've only paddled a foot into Japanese culture.
If you spot any major no-no's, please do let me know and I'll try
to make appropriate corrections. I've pretty much used
Chris Rijk's romanizations of Japanese names. In short:
main character's name appears Out There most often as "Inuyasha."
That's what I've used, even though I'd say, from listening to the
anime, that it's pronounced, as it's often spelled, "Inuyasya."
Other spellings are Viz's idiosyncratic "Inu-Yasha," and
the "Inuyaksa" that appears in Europe.
Sesshoumaru, Shippou, HoujouI've gone with Chris's
transliteration. The "ou" sound is more like the English-language
long "o" as in the word "no", with a bit more
of the dipthong "oo" sound on the end.
is pronounced "Tessaiga," but the "Tetsusaiga"
spelling got Out There before us Englishers heard the correct pronunciation
on the anime. If "Tessaiga" starts winning as a spelling
Out There I may go back and change the scans, but "Tetsusaiga"
looks cooler and more Japanese than Tessaiga, so I'm betting it'll
hang around. Both "Tetsusaiga" and "Tessaiga"
refer to the same katana; maybe "Tetsusaiga" is the transformed
sword and "Tessaiga" is the grungy beat-up looking version.
point for this story is, of course, Rumiko Takahashi's Inuyasha,
but it seems to have taken on a life of its own. It's like jazz, where
the musician takes a great Rodgers and Hart song, pulls it apart,
and puts it together in a different way. If the musician is good,
the result is good, but it won't necessarily sound much like Rodgers
and Hart. I hope The Hero is good; it isn't Inuyasha, but
it isn't trying to be. I really like Inuyasha, by the way,
and I hope the hero comes out of that story alive and hanyou.
writers work alone, it's hard to write a good story without feedback.
The whole story for The Hero had been plotted out by the time
I started the pencils. Much of the dialogue and even the layouts for
the later chapters have been planned for months, following a story
map. Getting it to this point, as well as getting through each book,
has involved hours of talking out the story with my daughters, Eleanor
and Emily Murray, both published writers. They've been wonderfully
patient about listening to story threads, chortling over funny parts,
sniffling over sad parts, and generally critiquing what's happening.
One day in October 2001, Eleanor spotted a red-haired Asian-American
anthropology student on the Chicago elevated train and followed him
(probably terrifying him)then she talked me into re-penciling
books two and three. If you're a Chicago-based red-haired Asian-American
anthropology student who wears square-framed glasses and sandals with
socks, that Goth chick from the train has immortalized you.
writer, not an artist. To the extent I am anything like an artist,
I'm a modestly talented amateur cartoonist. I'm a halfway decent penciler,
and not too bad with brush and ink, but pen and ink is a challenge;
I wish I could just work with the pencils, really, but they don't
scan too legibly. This was originally conceived as a magical-realist
American-type comic, but that was a huge amount of work for not so
good results, so I switched early on to my usual single-panel-magazine-cartoon-type
style. That's why Page 1 of Book 1 has that realistic book illustration
type figure, while the rest of the book gets progressively more cartoony.
The Prologue was drawn considerably later than Book 1. Pages and panels
read left to right, American style. If you're curious, Hero21
undergoes initial sketches, then is storyboarded in pencil as newsprint
roughs and finally penciled and inked on 11" x 14" smooth
bristol board. The boards are scanned and digitized using an Agfa
DuoScan T2000XL professional scanner on a Macintosh platform. The
artwork is (sometimes extensively!) cleaned up and lettering added
using Adobe Photoshop 6 on a Windows platform (either Windows 2000
on a Dell system or Windows XP on a Hewlett-Packard system). The page
is designed and maintained using Dreamweaver 3 or 4, depending on
which computer we're working from.
a lot of fun, but it's a lot of work, and I couldn't keep it up without
the access to technology provided by Northwestern University and Columbia
College Chicago, and without the work of The Hero Team.
in the 21st Century is a fanfiction/doujinshi in the form of a postmodern
graphic novel. It is intended for an adult audience, by which I mean
it's meant to appeal to grown-ups. It's chock-full of mature content
and intense situations
which means some rough language, quite a bit of bawdy humor, some
nudity, some sexual situations (although no really graphic sexual
activity), and some very disturbing and violent imagery. Some things
are just going to be very, very sad and upsetting, but because this
project is also an outgrowth of my oral storytelling work, I'll try
hard to bring everybody through the sad and awful stuff. Nevertheless:
this isn't for young children. I offer the option of full dialogue
transcripts with descriptions (which will still have the intense language
and imagery) and less intense summaries for people who really don't
want to handle some of the stronger stuff, but this story just plain
isn't intended for young kids.
in the 21st Century is a not-for-profit fan comic based on, occasionally
parodying, and always lovingly paying tribute to Rumiko Takahashi's
Inuyasha, known in English-language versions as Inu-Yasha:
A Feudal Fairy Tale, which is published by Viz Comics. Rumiko
Takahashi and Shogakukan hold the copyright on all characters and
situations taken from this series, including but not limited to the
characters known as Inuyasha, Kagome Higurashi, Sesshoumaru, Kikyou,
Shippou, Miroku, Sango, Naraku, Myouga, Kirara, Souta Higurashi, Mama
Higurashi, Grandpa Higurashi, Buyo, Houjou, the swords Tenseiga and
Toukijin, and of course the twins, Tetsusaiga and Tessaiga.
and situations from Hibernating Bats, including but not limited to
the characters known as Auley De Dannan, Mona Hanlon, Elizabeth Hanlon,
Matthew Hanlon, Brett Hanlon, Sorcha Morna, Asiragh, and Dr. Rose
Otherworld, are copyright © 1977, 2001, 2002 by Kristine Batey.
The Hero in the 21st Century is copyright 2001, 2002 by Kristine
Batey. Please ask permission before you borrow anything. Okay?
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