20 ft x 20 ft tarp

Translated from German.
Link to the orginal interview: https://www.manga-passion.de/articles/8505/interview-mit-sui-ishida-mangaka-von-choujin-x-und-tokyo-ghoul
MP: Hello Ishida-sensei and thank you that you have taken some time to answer our questions.
MP: In you current work Choujin X you are again creating a world in whose shadow exists a society of superhuman beings. Can you tell us something about how the this world was created? How did you get the idea and based on what criteria have you created the world of Choujin X?
Ishida-sensei: It is a subtle nuance but the secret society in Choujin X (this is about Yamato Mori, right?) is not a society that fully operates in the shadows but a secret society that stands with one leg in the shadows. Concerning the setting, Tokyo Ghoul was a rather restricted world so I wanted to write something with looser boundaries.
Simple superheros and an organization the way it often exists. I thought that if I have the base elements for the story, I could just draw and present it in my own style. Then I wanted to introduce things that are familiar but somehow weird and created the world in a way that is very close to reality. Additionally I also added some retro-atmosphere based on my taste.
What else? I imagined that the linguistic system has been breached and that many different people live in one big country (that actually is constructed as a broken national system). They speak a unified language. Although there are many different species (note by me: this sounds like something that got lost in translation) with many different roots, there is neither an X-people nor a Y-species. The only differences that is being made is between humans and Choujin. The story also features the preserved history of the different languages because I absolutely wanted to use all kinds of things from the cultures of the different countries. Humanity exists as one big family. It is hard to explain why I decided this way because it is more of a feeling. But I liked it better that way.
MP: Like Tokio Kurohara, the reader only gets to know the world of Choujin X only gradually where every new chapter offers new characters and glimpses which bit and bit connect into a bigger picture. How is it with you? Did you as the writer have a concrete image of the complete story progression, meaning did you sketch out all events including the end? Or do you let yourself guide by spontaneous inspiration when writing the story and let yourself get surprised by what happens next?
Ishida-sensei: I do have more or less determined the complete story progression but sometimes characters don't follow the the sequence or things don't go as expected. I am laying done something like train tracks but if something goes off the rails I try to let it go on. Still, sometimes I have to take care not to cause any accidents. I determine a destination and pave the way. If things then go off the rails and it wasn't just an out of control rampage, then it is okay to lay down new tracks. … When I am looking back I don't think that I have currently gone off the rails much. Although I am seeing unexpected sceneries and there are things happening that surprise me, so it isn't exactly how I planned it in my head. But not everything is spontaneous inspiration for this work. It's about half and half. Though I am having the feeling that I would lose the joy of drawing if I were incapable of surprising myself.
MP: With Tokyo Ghoul you have achieved a great success. We have heard that you feel a great pressure to succeed. How did you overcome this pressure while working on Choujin X? How did you deal with the high expectations of the fans?
Ishida-sensei: I can't remember that I said there was any pressure to succeed. But I am not sure if I am remembering that correctly. Did I say that? I don't know. I don't believe that I said that.
But writers and pressure, I believe that is a profound topic. So I thought about it in my own way. In terms of premise I don't consider Tokyo Ghoul to really be a success.
Success for me is the feeling of having drawn something well. Thinking about it properly, I don't really demand that it is well received by society or that many people like it. So success for me is, if I myself can feel proud about it or not.
And If I think even further, I believe that it is hard for me to connect with my readers. Honestly I don't really have any clear image of what sort of people like to read my manga. I have the feeling that if I think too much about this, I try more and more to please my readers and that influences my drawings and lets them appear weird. Therefore, for now all I demand is to feel proud. Everything extra on this is nice and I think “Thanks”.
Therefore the only thing I can do is face my own obstacles and I believe that is the greatest pressure I am under. So far I have not manged to really overcome this pressure.
So when I am drawing manga, be that Ghoul or Choujin, I am facing the same obstacle and the same pressure. If people like what I have drawn after overcoming my obstacles, then I am happy. I think that will be the first time I can connect with my readers.
MP: In Germany there are many readers who also like to draw. Therefore we would like to ask you about the technical aspects of your works. Do you draw traditionally or digitally? What drawing tools do you use when drawing Choujin X and most of all: Which ones are you using for which specific steps of your work?
Ishida-sensei: I am working completely digitally with Clip Studio Paint by Celsys. What drawing tools I am using...? Hard to explain. I am going to list them: 10 – 20 kinds of primary pens, secondary pens and brushes that I am frequently using and about 100 that I am using occasionally? Then I also have about 50 keybindings. With every key it is possible to switch between tools and action commands, so I am using about that many functions. So, …... for what specific steps am I using them...? Maybe more about that next time.
MP: From where do you take the inspiration when drawing and do you have any specific rituals that help you with that?
Ishida-sensei: Inspiration … I don't really know. When I think that I want to draw something, I draw it. It does not happen often that I see something and then want to draw it. Something like a ritual? I don't have that either but if I haven't drawn for a long time my proportions become unclean. Therefore I am drawing pages with quick sketches in these cases to warm up for my work on the manuscripts. This way I am reducing the effort to revise something when it hasn't been drawn well.
MP: Can you tell us how a typical day looks like for you? How many hours are you working per day and at what times (Day or night) are you working for example? Do yo have assistants? And what roles are they filling?
Ishida-sensei: Currently I don't have any assistants. I am basically working alone on everything. Recently I am getting up around during the afternoon or evening and draw for about ten hours. Then I read a book or watch a movie until I fall asleep. When I have trouble with falling asleep I continue to work for a little while longer. When I want to progress fast and absolutely want to submit a manuscript I work for twenty to thirty hours at a time. When I am taking it slower and am not in a hurry I only draw for five hours and spent the rest of the day with doing other things. Additionally I add in jogging and going for walks to keep my body moving.
MP: Choujin X doesn't seem to have a regular release schedule. Is that connected to the previous statements? The online reactions by fans in this regard have been largely positive. Where there any reactions that move you personally?
Ishida-sensei: Weekly serializations have a page count of 18 – 20 pages per week. I have always thought that I personally could probably draw a little bit better when I am not bound to a particular tempo or a particular page count. And I also have an easier way of taking time off when I need to. (I don't know anything about the reactions to this announced since I have not seen them.)
MP: What do you do when you are not working? Do you have any hobbies or favorite activities that help you to relax now and then?
Ishida-sensei: Well, jogging and going for walks are my method to relax. But most of the time I am thinking about work and I play video games, read or watch movies with a view on work, so it is hard to find a hobby that fully relaxes me.
MP: Thank you very much for the interview!

Translated from German. Link to the orginal interview: https://www.manga-passion.de/articles/8505/interview-mit-sui-ishida-mangaka-von-choujin-x-und-tokyo-ghoul
MP: Hello Ishida-sensei and thank you that you have taken some time to answer our questions.
MP: In you current work Choujin X you are again creating a world in whose shadow exists a society of superhuman beings. Can you tell us something about how the this world was created? How did you get the idea and based on what criteria have you created the world of Choujin X?
Ishida-sensei: It is a subtle nuance but the secret society in Choujin X (this is about Yamato Mori, right?) is not a society that fully operates in the shadows but a secret society that stands with one leg in the shadows. Concerning the setting, Tokyo Ghoul was a rather restricted world so I wanted to write something with looser boundaries.
Simple superheros and an organization the way it often exists. I thought that if I have the base elements for the story, I could just draw and present it in my own style. Then I wanted to introduce things that are familiar but somehow weird and created the world in a way that is very close to reality. Additionally I also added some retro-atmosphere based on my taste.
What else? I imagined that the linguistic system has been breached and that many different people live in one big country (that actually is constructed as a broken national system). They speak a unified language. Although there are many different species (note by me: this sounds like something that got lost in translation) with many different roots, there is neither an X-people nor a Y-species. The only differences that is being made is between humans and Choujin. The story also features the preserved history of the different languages because I absolutely wanted to use all kinds of things from the cultures of the different countries. Humanity exists as one big family. It is hard to explain why I decided this way because it is more of a feeling. But I liked it better that way.
MP: Like Tokio Kurohara, the reader only gets to know the world of Choujin X only gradually where every new chapter offers new characters and glimpses which bit and bit connect into a bigger picture. How is it with you? Did you as the writer have a concrete image of the complete story progression, meaning did you sketch out all events including the end? Or do you let yourself guide by spontaneous inspiration when writing the story and let yourself get surprised by what happens next?
Ishida-sensei: I do have more or less determined the complete story progression but sometimes characters don't follow the the sequence or things don't go as expected. I am laying done something like train tracks but if something goes off the rails I try to let it go on. Still, sometimes I have to take care not to cause any accidents. I determine a destination and pave the way. If things then go off the rails and it wasn't just an out of control rampage, then it is okay to lay down new tracks. … When I am looking back I don't think that I have currently gone off the rails much. Although I am seeing unexpected sceneries and there are things happening that surprise me, so it isn't exactly how I planned it in my head. But not everything is spontaneous inspiration for this work. It's about half and half. Though I am having the feeling that I would lose the joy of drawing if I were incapable of surprising myself.
MP: With Tokyo Ghoul you have achieved a great success. We have heard that you feel a great pressure to succeed. How did you overcome this pressure while working on Choujin X? How did you deal with the high expectations of the fans?
Ishida-sensei: I can't remember that I said there was any pressure to succeed. But I am not sure if I am remembering that correctly. Did I say that? I don't know. I don't believe that I said that.
But writers and pressure, I believe that is a profound topic. So I thought about it in my own way. In terms of premise I don't consider Tokyo Ghoul to really be a success.
Success for me is the feeling of having drawn something well. Thinking about it properly, I don't really demand that it is well received by society or that many people like it. So success for me is, if I myself can feel proud about it or not.
And If I think even further, I believe that it is hard for me to connect with my readers. Honestly I don't really have any clear image of what sort of people like to read my manga. I have the feeling that if I think too much about this, I try more and more to please my readers and that influences my drawings and lets them appear weird. Therefore, for now all I demand is to feel proud. Everything extra on this is nice and I think “Thanks”.
Therefore the only thing I can do is face my own obstacles and I believe that is the greatest pressure I am under. So far I have not manged to really overcome this pressure.
So when I am drawing manga, be that Ghoul or Choujin, I am facing the same obstacle and the same pressure. If people like what I have drawn after overcoming my obstacles, then I am happy. I think that will be the first time I can connect with my readers.
MP: In Germany there are many readers who also like to draw. Therefore we would like to ask you about the technical aspects of your works. Do you draw traditionally or digitally? What drawing tools do you use when drawing Choujin X and most of all: Which ones are you using for which specific steps of your work?
Ishida-sensei: I am working completely digitally with Clip Studio Paint by Celsys. What drawing tools I am using...? Hard to explain. I am going to list them: 10 – 20 kinds of primary pens, secondary pens and brushes that I am frequently using and about 100 that I am using occasionally? Then I also have about 50 keybindings. With every key it is possible to switch between tools and action commands, so I am using about that many functions. So, …... for what specific steps am I using them...? Maybe more about that next time.
MP: From where do you take the inspiration when drawing and do you have any specific rituals that help you with that?
Ishida-sensei: Inspiration … I don't really know. When I think that I want to draw something, I draw it. It does not happen often that I see something and then want to draw it. Something like a ritual? I don't have that either but if I haven't drawn for a long time my proportions become unclean. Therefore I am drawing pages with quick sketches in these cases to warm up for my work on the manuscripts. This way I am reducing the effort to revise something when it hasn't been drawn well.
MP: Can you tell us how a typical day looks like for you? How many hours are you working per day and at what times (Day or night) are you working for example? Do yo have assistants? And what roles are they filling?
Ishida-sensei: Currently I don't have any assistants. I am basically working alone on everything. Recently I am getting up around during the afternoon or evening and draw for about ten hours. Then I read a book or watch a movie until I fall asleep. When I have trouble with falling asleep I continue to work for a little while longer. When I want to progress fast and absolutely want to submit a manuscript I work for twenty to thirty hours at a time. When I am taking it slower and am not in a hurry I only draw for five hours and spent the rest of the day with doing other things. Additionally I add in jogging and going for walks to keep my body moving.
MP: Choujin X doesn't seem to have a regular release schedule. Is that connected to the previous statements? The online reactions by fans in this regard have been largely positive. Where there any reactions that move you personally?
Ishida-sensei: Weekly serializations have a page count of 18 – 20 pages per week. I have always thought that I personally could probably draw a little bit better when I am not bound to a particular tempo or a particular page count. And I also have an easier way of taking time off when I need to. (I don't know anything about the reactions to this announced since I have not seen them.)
MP: What do you do when you are not working? Do you have any hobbies or favorite activities that help you to relax now and then?
Ishida-sensei: Well, jogging and going for walks are my method to relax. But most of the time I am thinking about work and I play video games, read or watch movies with a view on work, so it is hard to find a hobby that fully relaxes me.
MP: Thank you very much for the interview!

Having an issue where when using the B-8V20A pod - 20 x S-8KOM 80mm ungd rockets, HEAT/AP, after having Petrovich arm the weapons, arming the launchers, and setting my sights up etc., I can fire 10 out of the 20 rockets no problem. However after I fire 10, I can no longer get the launchers to arm. I've tried disengaging and re-engaging fire control, switching from RKT to cannon and back to RKT, and having Petrovich rearm the weapons. However, I can never get the other 10 out of the launcher.
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I am using the preset loadout of 8xAGTM and 2x rocket pods.

Não é matematicamente, mas digo com a maior dor e certeza do mundo: o Inter vai empatar em casa com o Medellin no dia 28 de Junho e o Nacional vai vencer com facildade o pior time da Libertadores. Estes resultados eliminarão o Inter invicto.
Vocês sabem que vai acontecer isso. Vocês conhecem melhor do que eu esse time. Só muda como será o roteiro. Tem duas opções:

• Será um 0x0 com 20 chances perdidas por Wanderson, Alemão e companhia, com bola na trave, gol anulado por falta no goleiro, pênalti revertido pelo VAR e um impedimento nos acréscimos;
  
• Ou será um 1x1 onde Alan Patrick achará um gol aos 16 do segundo tempo, logo após o gol Mano tira Luiz Adriano pra botar Alemão e tira Pedro Henrique para colocar Jean Dias, algum bagre colorado perde um gol inacreditável em seguida, depois o time recua e começa a tomar chuveirinho até que aos 47 do segundo tempo toma o empate numa falha defensiva em bola aérea...
  

É tão previsível que já estou dando risada só de pensar nesse jogo. O que o Inter fez pra Deus? Foi pelo pacto que Celso Roth e Alecsandro fizeram no intervalo de São Paulo x Inter no Morumbi em 2010? Foi a valsa interdimensional de Sasha que abriu um portal para o Inferno? O QUE O TORCEDOR COLORADO FEZ PRA MERECER ISSO?
"Ah, halzenfross, mas na Sulamericana temos chances" TEMOS SIM FILHO DA PUTA CHANCES DE SERMOS ELIMINADOS NOS PÊNALTIS COM DOIS EMPATES PARA O INDEPENDIENTE MIÑAROLA DA VENEZUELA HAHAHAHAHAHAHAHAHAHAHA É OS GURI DO INTE NÉ HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA OBRIGADO POR ME FAZER COLORADO PAI

Hey guys, so I’ll start this post off
What I found a lot darker now that I’m older is the dentist scene from the Simpsons (S 18 E 22)
Where Bart Simpson play‘s dentist with principal Skinner after kicking his gums in with a giant tooth and rinsing absolutely everywhere inside of Skinner, the part that I found the darkest was Bart taking a 20 minute x-ray of poor Seymour’s crotch
(I didn’t find it darker when I was younger because I didn’t necessarily understood the power and what harm x-rays can do when they are severely overdosed and/or misused[ also Don’t be scared of your doctor, you will be fine as they actually know what they’re doing and not just point-and-shoot] as in the case with “Dr“ Bart)