Someone to Love (愛する者 Aisuru Mono) is the 8th volume of Hiro Mashima's Edens Zero.
Cover[]
At the forefront are Shiki Granbell, Weisz Steiner (X442) and Rebecca Bluegarden all in combat stances with Weisz taking the focus and his Arsenal Suit rising above them. To the left are the Zaiten Three, all facing to the left side in unison, and to the right is Kurenai Kōgetsu smiling over them all.
Contents[]
- 060. Until the Day it Turns to Strength (いつか強さに変わるまで Itsuka Tsuyosa ni Kawaru made)
- 061. Enter Arsenal (アーセナル参上 Āsenaru Sanjō)
- 062. The Legend of Me (オレの伝説 Ore no Densetsu)
- 063. Taking Up the Torch (意志を継ぐ者 Ishi o Tsugu Mono)
- 064. Leaper (跳躍者 Rīpā)
- 065. The Swordswoman Incapacitated (剣士は動けない Kenshi wa Ugokenai)
- 066. Gravity's Gonna Crush You (重力がおまえを潰す Jūryoku ga Omae o Tsubusu)
- 067. Someone to Love (愛する者 Aisuru Mono)
- 068. Valkyrie (ヴァルキリー Varukirī)
Afterword[]
| “ | The way I work has changed a lot! It was true when I switched from analogue to digital, too, but the way I work in general has changed a lot with the changing times.
I'm worried about how people these days will react to me writing stuff like this, but in the past, I had a pretty harsh working environment. It was rough on me and my staff. My staff would stay over from Wedensday to Saturday and work. And when we didn't finish on Saturday, sometimes we would work all night with no sleep. That was the general style of work for manga in those days, so we just kept at it without ever questioning it. A major factor in changing that, is the changing times. In these days, the mind-over-matter attitude of, "Just work!" doesn't really fly anymore, and people are expected to have appropriate work hours. From the perspective of a manager who keeps his staff attached to their desks for long hours, this is a very difficult problem. I want them to do the job like they should. But it takes time to finish 20 pages of manga. The "We'll get through it with sheer force of will!" attitude that worked in the past doesn't work anymore. So, through a lot of trial and error, we've arrived at using digital art. There are a lot of advantages to working digitally. The first of which, is that our speed has gone way up. Of course, when you're not used to it, you feel like, "Analogue was way faster!", but once you get the hang of it, it's much faster than analogue. From my experience, it goes about twice as fast. To get technical, I don't really need to do a draft, I don't need to erase pencil lines, I can paint over large areas instantaneously, etc. etc. And it's just faster than analogue. I guess the one drawback is that sometimes work gets slowed down because of computer problems. And by switching to digital, my staff can now work from home. We get together twice a week so I can give instructions and do a final check of the finished chapter, but other than that, they can work at their own pace from their own homes. Then we finish it and get three days off a week! I think the work environment has gotten a lot better. Now, as far why I'm talking about this, until just the other day, I was working at the ridiculous pace of two series a week (and if you include storyboarding, it was three a week), but even in the midst of this almost stupid amount of work, my staff never had to pull all-nighters, they went home on time, and we still had four-day work weeks. Of course it goes without saying that it was harder than usual, but I'm very proud of it, and it was a new reminder of just how excellent my staff really is. |
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