Archive for the ‘Autumn Children’ Category

New front page

Saturday, January 19th, 2013

For the longest time, the front page of has contained nothing but a picture and a link.

Not anymore.

Notice what it says underneath the Autumn Children text.

That’s right, Autumn Children can now be preordered on DoujinPress. Please support your local Toho artist.

Autumn Children (COMPLETE)

Saturday, January 5th, 2013

House of Sixten presents its second Toho Project fanbook, featuring the crackest pairing ever hatched, Lunasa x Shizuha.

Autumn Children is the story of how the goddess of autumn leaves began her journey from “The Symbol of Loneliness and Demise” to “A God That Loves People” with the help of a kind-hearted pilgrim.

Don’t like opening the pages individually? Read it on pixiv

Front cover

Act 1

Page 01
Page 02
Page 03
Page 04
Page 05
Page 06
Page 07
Page 08
Page 09
Page 10
Page 11
Page 12
Page 13
Page 14
Page 15
Page 16

Act 2

Page 17
Page 18
Page 19
Page 20
Page 21
Page 22
Page 23
Page 24
Page 25
Page 26
Page 27
Page 28
Page 29
Page 30
Page 31
Page 32

Act 3

Page 33
Page 34
Page 35
Page 36
Page 37
Page 38
Page 39
Page 40
Page 41
Page 42
Page 43
Page 44
Page 45
Page 46
Page 47
Page 48

Back cover

Because some people went and uploaded Fairy Ring to various places without my permission, I’m getting around that problem by granting advance permission to anyone who wants to post Autumn Children anywhere. Thank you for playing!

Autumn Children (Take 1) – Pages 44-46

Sunday, December 30th, 2012

Page 44
Page 45
Page 46

Only two pages to go!

Autumn Children (Take 1) – Pages 42-43

Sunday, December 23rd, 2012

On holiday break.

Page 42
Page 43

Hina’s holy ground is more fancy than Shizuha’s.

Autumn Children (Take 1) – Pages 40-41

Sunday, December 16th, 2012

Like Gensokyo, Ireland has a god of agriculture. His name is Bres. As with all mythology, different portrayals of him exist, ranging from him being a tyrant to being kind and noble. But regardless, he makes the crops grow and the cattle give milk, and he is credited with teaching the Irish the secrets of farming.

However, the Irish harvest festival, “Lunasa”, is not named after Bres, but after Lugh. Lugh is known as “the Long-Handed” because of his mastery of all arts: music and dance, painting and sculpture, architecture and smithing. The band Lunasa takes its name from him, and by extension, so does Lunasa Prismriver.

The reason the harvest festival bears Lugh’s name is because Bres taught the Irish how to farm only because Lugh defeated him in battle and forced him to do so.

One of the older versions of the Autumn Children script had Lunasa raised as a follower of Lugh (hence her name). She wanted to meet Shizuha because she missed the gods of Ireland and Shizuha was the autumn goddess who reminded her of Lugh. Through Lunasa’s help, Shizuha discovered that she was the goddess of art, not just of the autumn leaves.

This was taken out because of how long it would take to write, how it would make Shizuha much more awesome than she actually is, and how it would conflict with the central theme of the strength of ordinary people. There is nothing Shizuha teaches Laurie that couldn’t have been taught by any artist with enough experience.

Page 40
Page 41

Autumn in Ireland is not only the season of the harvest. It is also the season for appreciating beauty: the beauty of nature, created by the hands of god, and the beauty of art, created by the hands of men.

Autumn Children – Art Consistency Edits

Sunday, December 9th, 2012

I decided not to live with the art consistency issues. Instead of continuing the story, I fixed previous pages.

Page 03: Before | After
Shizuha becomes shorter. When I started, I intended to make Shizuha taller, because she’s a big sister. But beginning with the scene where Shizuha flies off, I unconsciously made her smaller and didn’t notice until 20 pages later.

Page 04: Before | After
Shizuha becomes shorter.

Page 05: Before | After
Shizuha becomes shorter.

Page 09: Before | After
Changed Shizuha’s house to match its final form, on Page 32.

Page 11: Before | After
Changed Shizuha’s house to match its final form.

Page 20: Before | After
Changed Shizuha’s house to match its final form.

In addition to the art changes, there is a new page, Page 33, inserted at the beginning of Act 3. All the previous pages of Act 3 have been shifted up by 1. All comments are still attached to the posts containing the pages the comments were referring to.

I added the new page because I felt it was strange that Shizuha didn’t so much as thank Lunasa for her help in the battle against Parsee. It should also provide a smoother transition after the end of Act 2. The story should still fit into the 50-page limit. It might actually end up shorter than that.

Autumn Children (Take 1) – Pages 38-39

Sunday, December 2nd, 2012

Page 36
Page 37

Page 38
Page 39

“Laurie” is the name of one of the sons of John Avon. Although I must admit, if the boy actually was Laurie Avon, his father (or mother) would have been a better source of advice than Shizuha. Shizuha’s art skill in the comic is limited by my real-life art skill.

“Shizuko” is the name of a forgotten Kamigawa block legend.

Autumn Children (Take 1) – Pages 36-37

Sunday, November 25th, 2012

With this, Autumn Children reaches the page count of Fairy Ring and is now 72% complete. (There are four acts, three of which are 16 pages long and one of which is only 2 pages long, for a total of 50 pages.)

Now that the end is in sight, there are some things that are still bothering me about Autumn Children, but I’ve overcommitted too far to fix those problems.

Art-wise, the problem is consistency. Shizuha’s house, as seen in the background of Act 1 and 2, changes every time it appears (a result of using different references each time). Shizuha herself goes from being taller than Lunasa in the beginning of Act 1, but once she meets Lunasa, she suddenly becomes shorter. It becomes obvious now with the reappearance of the boy from Act 1 who gave Shizuha a leaf.

Story-wise, the first problem is an identity crisis. What is the singular message of the story? I eventually settled on “You’re stronger than you realize”, which is fortunately supported by the events of the story. But the problem was that I decided on the message only after Act 2 was complete. It was competing with other messages such as “Gods and people need each other” and “A demon is just a god that has lost his/her love for people”. Dialogue and events meant to support those other messages remain in the script, keeping it from being as focused as it could be.

The other story problem comes from requiring the audience to believe that Shizuha had such a crushing lack of self-confidence that she couldn’t see that she could make herself useful even without her powers.

As you will see, Shizuha does have some talent. But how has nobody else realized it and encouraged her to use it more? Did she think herself so weak that she avoided contact with people?

And how has Minoriko, or any of the other gods, not done anything to solve (or even notice) the problems Shizuha is having? Was Shizuha content with her limited role in the past, and only started being bothered by it when the demon started tormenting her?

Illustration: Mutsuki, who ships Reimu x Minoriko, which as far as I can tell is even more crack than Lunasa x Shizuha.

Page 36
Page 37

Autumn Children (Take 1) – Pages 33-35

Thursday, November 22nd, 2012

I was going to hold off on posting last week’s update until Sunday, but I decided to do something for Thanksgiving.

I’m thankful for many things, but today I will focus on one person who I have yet to properly thank.

Albert T. McNea (1940-2005) was an Irish-American industrial design illustrator. He was a senior designer for the Ford Motor Company for 30 years, and when he moved to the west coast he worked for Boeing and Walter Dorwin Teague. As you might expect from his work experience, his skill at drawing vehicles, whether cars, planes, or boats, was unmatched. Unfortunately, very little of his work can be found online. I wouldn’t have known of his legendary skill if he hadn’t been my illustration professor at the Art Institute of Seattle.

Professor McNea’s job was mostly about vehicles, but he drew all sorts of other things in his own time. As a member of the Puget Sound Group of Northwest Painters, he would also do landscapes and seascapes. He also did a little cartooning, and admired two comic strips above all others: Winsor McCay’s Little Nemo in Slumberland and Bill Watterson’s Calvin and Hobbes.

I sometimes talk about how my work derives from the work of Japanese moe-specialists such as Kito. But I owe just as much to Professor McNea – probably more, since he actually gave me feedback, showed me how to correct my mistakes, and pushed me to keep improving. My style looks more like Kito’s than Professor McNea’s, but if you look carefully, you can see the influence of the old Irishman in my work: vehicles, natural landscapes, cartoons of heavy black lines. I’m obviously not as good as Professor McNea (or Kito, for that matter), but to become great, you have to strive to emulate the best.

Professor McNea was the first Irishman I met in my life. While he didn’t introduce me to Irish food or music, I don’t think I would have gravitated toward them if he hadn’t given me a positive impression of being Irish. It is said that the Irish are fighters, and Professor McNea approached his work and his students with great energy and passion, even late in his life. As he liked to say, “There’s snow on the peak, but there’s fire in the furnace”.

The “Irishness” of Lunasa in Autumn Children, as well as what Shizuha learns she can do to help the people of Gensokyo throughout the year (as you will see in the December updates), are inspired by Professor Albert T. McNea.

Thanks for everything, Professor.

Page 33
Page 34
Page 35

Autumn Children (Take 1) – Pages 31-32

Sunday, November 11th, 2012

Feeling a little sick. No fancy information for you today.

Page 31
Page 32