Takaya biography

Boku ga Utau to Kimi wa Warau kara. Fruits Basket: Another. Fruits Basket: Mabudachi Tokubetsu-hen. Genei Musou. Hoshi wa Utau. Kakumo Chiisaki Sekai nite. Liselotte to Majo no Mori. Meisaku 4-koma Hakurankai. She says that no matter how differently she wanted them to look, they kept "disobeying" her and doing their own thing.

Takaya biography

In the end, though, Takaya and the readers agree that the final products turned out well. Takaya has created many characters in her career, but a regret she has about Fruits Basket is that she couldn't organically write in Shigure Sohma getting punched in the face. Despite being one of the oldest Zodiac members, Shigure purposefully causes a lot of strife, especially where Yuki, Kyo, and Tohru Honda are concerned.

Takaya claims that it was her initial intention to have either Kyo or Yuki punch Shigure in the face at the end of the story. She even alluded to it in an earlier chapter when Hatori warns Shigure against provoking the teenage boys. Much to Takaya's chagrin, Yuki and Kyo had developed and matured so much that it no longer seemed plausible that either of them would resort to violence.

In the end, Takaya is happy with Yuki and Kyo's plot lines but still wishes she could have found a way for Shigure to receive some sort of retribution from his relatives. When Fruits Basket was first adapted into an anime in , it gained popularity quickly, but Takaya was never fond of the direction. Therefore, when a proposal for a reboot was announced , Takaya insisted on an entirely new creative cast — including voice actors.

However, the English dub of the reboot still used the original voice actors from the show. In addition to the team, Takaya stressed that she did not want the animators to copy her style. Rather, she hoped that they would take her work, update the style, and make it their own. Tokyopop's best-selling title is Fruits Basket v16 with an excellent 58, copies sold in " and "[In ] Comic Book Awards Almanac.

Archived from the original on August 16, Retrieved August 21, Media Arts Database in Japanese. Japan: Agency for Cultural Affairs. Anime News Network. July 5, Retrieved December 13, Retrieved May 5, April 16, May 20, December 3, I consider colour as a substance that works within existence. To produce oil paintings, I work with pearlescent materials used in make-up and metallic materials.

The different refractive qualities of the materials appear to be fluctuating surfaces for human eyes. This two-dimensional work of ontological inquiry is created to be experientially immersive, with the light of the gallery space shifting, as the viewer changes distance and angle to the work. This immersive viewing experience is also a contemplative one in which the viewer experiences a fluctuation of consciousness that both acknowledges and forgets their sense of time and memories of their inner world.

In this sense, the artwork is a medium that connects the creator with the viewer, or we can interpret it is a device for experimenting together with the potentiality of the human body as a sensory organ. At the same time, a multi-dimensional depth is created on the flat surface, which reacts and fluctuates with the changing light of the exhibition space.

In a sense, the works crystallise part of a transcendental dimension in which what we see changes with our state of mind and the changing environment of the space. Paintings that look into the viewer's own mind, rather than paintings that convey images, are meant to help us regain our physicality in the post-truth era of accelerating information technology, and to know the certainty of being present for here now.