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Goldilurks wrote:Are people still interested in this?

Of course!

Katawa...Nani? Kenji’s Omake

• Page One
  First Panel: We see a much older looking Kenji, dressed professorially, on a television screen. He’s sitting down next to what appears to be a coffee desk. A pretty young lady journalist is asking him questions (obvious from her posture, that kind of tell-me-all-about-yourself lean towards the other member of conversation). The edge of the screen should be visible in the panel; behind it, a partially messy apartment.
  Remote Control: *click*
  Journalist: “- was a relatively new development in your life, Dr. Setou?”
  Kenji: “Oh, yes. As a matter of fact, in my youth I was as horribly prejudiced as any of the case studies I write about. Writing Peace Treaty and The Outstretched Hand was really a way for me to deal with my own issues.”
  Second Panel: Zooming out on the same perspective, we see the TV in the background, and in the foreground two silhouettes. They’re people in a horizontal position, and while we can tell from the shadowy outlines that they’re still fully clothed, the situation is pretty hot and heavy. The figure on top, female, is pushing herself up on her arms and slowly breaking off a deep kiss. They appear, say, eighteen years old.
  Aki: “…mmm…hah.”
  Kou: “…heh…oh shit, the remote.”
  Journalist: *laughs* “I find it hard to believe that the great feminist writer and gender affairs critic was anything but a gentleman when young.”
  Third Panel: This one is roughly the size of the last two panels combined; I’m worried about saving space with panel layout though, so artists’ feedback would be appreciated. We’re looking down on the living room of a small apartment or house, giving us a view of the sofa the young sweethearts are on. Aki Setou, the daughter in our chapter, is on top of her boyfriend Kou, though from this perspective we can’t really see anything of Kou but his legs, and maybe one of his arms. Of Aki, we can see her mop of mussy, chin length hair, white t-shirt, and maybe some of her sweatpants depending on how she’s sitting. The TV is off to the side; it’s an old TV, since Kou apparently can’t afford a flatscreen. From above we can’t see the screen. Various dirty clothes and empty chip bags are scattered around the floor. Maybe a coffee table with an ashtray on it.
  Kenji: “When I wrote that a lot of sexism comes from feelings of paranoia and helplessness in men, I was speaking from personal experience.”
  Kou: “My bad, I’ll get it. Hey, it’s your pops.”
  Aki: “Christ. Not this damn interview again.”
  Fourth Panel: Back to the size of the first two panels. We get a close up on Aki’s face as she runs her right hand through her hair, rolling her eyes in annoyance. She doesn’t look that much like Kenji besides the chin and lower jaw structure. Her hair is lighter than his. The look on her face tells her she doesn’t much care for Kou’s joking tone.
  Kenji: “Male chauvinists can imagine a threat in women – a completely fictional threat – in women as a group based on nought but our own insecurities.”
  Journalist: “But surely when you thought about it rationally you came to the positions you hold now.”
  Kou: “What, you don’t want to watch it?”
  Aki: “I do not need another lecture on ‘empowerment’ and ‘emotional security’. Just kill that shit already.”
  Fifth Panel: Also the same size as panels 1, 2, and 4. We see the sofa from knee’s height level, at an angle closer to where their heads our resting. Kou has finished digging the remote out from under his back with his left arm, and has pointed it at the screen. We get to see his neatly trimmed hair, which would probably look rather dapper if he hadn’t been making out with an aggressive young woman for the last fifteen minutes. Aki, still sitting over his hips, has bent down into another kiss with her left hand behind Kou’s head (if you’re wondering about how I viewed the position, Aki’s left side, and Kou’s right, are next to the backing of the sofa). With her right hand, she’s reaching down for Kou’s pants.
  Kenji: “Rational thought never enters into it. In those cases, we assume –” *bzzt*
  Kou: “There, I got itmmph.”
  Sixth Panel: Back to the panel size of 3. It’s a side profile close up of Aki’s and Kou’s faces, and maybe a bit of their upper torsos. We can see Kou’s face better now; he’s clean shaven except for a finely groomed soul patch. He’s grinning in a manner that is both apologetic and lustful. Aki’s expression can really only be described as ‘frisky’.
  Kou: “Hah. Hey. Umm, babe, I forgot to bring a rubber tonight.”
  Aki: “No problem, I brought one of my own, just in –”
• Page Two
  First Panel: This is the punchline/action panel, and should take up four fifths of the page, easy. Our perspective is three-quarters shoulder’s height view from behind the sofa. Aki and Kou are almost about to knock the damn thing over backwards from trying to jump off it in shock at the same time. The object of their shock is Kenji, who is shining a spotlight in through the window behind the television. He’s sitting on a window washer’s rig outside the window, dressed in what seems to be a man’s black catsuit, with one of those listening devices next to him. In his hand is the megaphone he’s yelling at the kids with. Expression, of course, is Angry Kenji, straight out of Act I. Aki’s facial expression is halfway between disbelief and murderous rage, while Kou looks like a small time coke dealer who’s just seen a SWAT team bust in through his bedroom window. If you want to go into real detail, put irritated neighbours looking out of their windows on the adjacent apartment building, wondering who the hell is making this racket at ten in the evening.
  Kenji: “WHAT ARE YOU DOING SETTLING FOR A MAN WHO CAN’T REMEMBER TO BRING PROTECTION? MAKE HIM GO WITHOUT UNTIL HE LEARNS RESPONSIBILITY!”
  Kou: “GYAaaaAAAHHHhhh!”
  Aki: “WHAT the FUCK, daddy! You were spying on us?!?!?”
  Kenji: “THAT’S THE OTHER THING! YOU’VE GOT NO SECURITY HERE! EVEN I COULD SEE YOU! CLOSE YOUR CURTAINS TO THWART VOYEURS!”
  Second Panel: The post-punchline panel, at the bottom of the page. Kenji is sitting down to a table at a book signing, somewhere. He’s pushing copies of his new work, What Men Can Do, though there are piles of copies of The Outstretched Hand and Peace Treaty on adjacent tables. Someone professional looking, probably an assistant from the publishing company, is fussing over the fresh black eye he’s got. Kenji is waving it off with an awkward, nervous smile; Madarame from Genshiken is a good model to use here. The line of customers and fans are staring at the author and sweatdropping furiously.
  Assistant: “Ah! Dr. Setou…your eye…”
  Kenji: “Oh, this, hahahah, don’t mind it. I just got it from my daughter last night.”
  Line of Customers: *thinking* (…waaaaaaaait a minute…)

Ok that Kenji story made me laugh really hard. Sad to say, I can actually see him doing something like that.

This is the best Kenji fic I've read so far. Awesome job!

This is, as they say down in the ghetto, "teh lulz". Good prize!

Sounds like time for a manly picnic, maybe talk some things over with Kou

I'm honestly surprised that no one was disappointed in my making Kenji a prominent feminist. I suppose I managed to hit it just right.

atfirstIwaslikebutthenILOL'D.jpg

was the reaction I was aiming for anyways.

On a side note, flying to Korea this Friday. Unsure about Internet access. But expect the Hideakira chapter when I'm back.

Goldilurks wrote:I'm honestly surprised that no one was disappointed in my making Kenji a prominent feminist. I suppose I managed to hit it just right.

atfirstIwaslikebutthenILOL'D.jpg

was the reaction I was aiming for anyways.

On a side note, flying to Korea this Friday. Unsure about Internet access. But expect the Hideakira chapter when I'm back.

Enjoy your trip! Would definitely be waiting for the next chapter.

So yeah...getting a new job and adjusting to life in a foreign country can be tougher on the old creative processes than I thought it would be. Hopefully returning to this project within the next week. Hideakira chapter will be next. After that, I may finish the omakes, or try conversions of other authors' works into comic script form. Or maybe not; I've been musing on a ShizunEmi yuri fic in prose.

Just wanted to drop a head's up.

^ Good news indeed ^

Nice to know that you are still alive. Take your time, though. As fun as it might be to read your stories, you should take care of your real life problems, first. Write when you are comfortable.

Shouting out to a shout out. Who wants some Mama Hanako?

Hey, this thread got updated!

Anyway, I reread the Rin section again, and I remember seeing a video about how this one armless woman drives her car...now if only I could find it...