She and Her Cat

Story: Makoto Shinkai
Art:Tsubasa Yamaguchi
Translation: Kumar Sivasubramanian
Original Story: She and Her Cat: Their Standing Points (1999) by Makoto Shinkai

She and Her Cat is one of many tales told around the world about pets showering their owners with unconditional love. Expanding on a five minute animation created by Makoto Shinkai, the manga goes a bit beyond the usual portrait of animal companions and their owners. The titular cat Chobi isn’t the main point of focus, but a POV character who provides a peek into the life of his owner, a young woman named Miyu. Because Chobi is just your average house cat, he doesn’t truly comprehend her behaviour. As a creature of habit, he simply notices when Miyu is becoming more anxious and slowly deviating from her daily routine. Then one day, she doesn’t come home. Unlike Chobi, we the readers have already surmised that Miyu is undergoing a bout of depression brought on by pressures from work and her personal life. Though the specifics will mostly elude us.

Shinkai isn’t really able to maintain the illusion of seeing events through Chobi’s limited perspective. There are a couple of scenes with Miyu were Chobi is entirely absent. And Chobi sometimes resorts to human concepts which should be beyond the understanding of any cat. But as a framing device, Chobi allows us to view Miyu’s life as a series of vignettes. The story begins in spring and takes place over the course of a single year. Chobi’s narrative voice makes the most sense when the cat is paying a high degree of attention to the tiny details, particularly those details pertaining to the changing seasons. His loving description of his own surroundings evinces an unexpected sensuality which is complimented by the atmospheric artwork of Tsubasa Yamaguchi, who’s particularly attuned to the varying quality of ambient light as it’s filtered and diffused by the environment. When matched with Shinkai’s quiet narrative, Miyu’s descent into depression synchronizes with the looming cold around her in a way that almost feels inexorable.

As Miyu gradually withdraws from all human contact, it would seem that the ingredients are being gathered for the making of a desolate winter. And this tracks with Shinkai’s penchant for bittersweet endings. But for once, this is a sunnier conclusion from him. He swerves away at the last minute, thanks to a timely intercession from Chobi. Shinkai charts a new course which renews his characters, thanks to the healing power of pets.

More NonSense: SPX 2017 Edition

Go to: SPX

Heidi MacDonald on this year's SPX.

Rob Clough on this year's SPX.

Kat Overland on this year's Ignatz Awards.

Matthias Wivel on Jack Kirby’s late foray into autobiographical comics, Street Code.

Tom King and David Finch talk about their creative process when writing Batman.

Seth Simons on the current neglect of The New Yorker’s Cartoon Bank, which licensed cartoons for secondary use. Cartoon Bank was established by Editor Bob Mankoff in 1992, and bought by the New Yorker in 1997:

The Cartoon Bank was a windfall for cartoonists, who in the late ‘90s and early ‘00s witnessed the market for single-panel gag cartoons dwindle from a handful of publications to virtually only The New Yorker. “I remember one particular check early on, probably my second or third check from the Cartoon Bank, was close to $8,000,” said one longtime cartoonist who was involved in the Cartoon Bank’s earliest planning sessions, and who requested anonymity to speak candidly. “As time went on, the returns weren’t as great, but they were still good—they were still two or three thousand dollars a month.” Alex Gregory, a contributor since 1999, described similar numbers. “I would regularly get checks for one or two thousand dollars,” he said. Mankoff, who had a bird’s-eye view of the company’s financials, spoke of cartoonists receiving residual income to the tune of $30,000 to $40,000 annually. The 1998 Times report notes that one cartoonist, Peter Steiner, had by that point received more than $30,000 in royalties for a single cartoon. 

In 2008, Mankoff handed off leadership of the Cartoon Bank to Condé Nast, who, it quickly became apparent, planned to operate the business with a lighter touch. “I consulted with them for many years after I left, urging them to support this business and commit to this business,” Mankoff said. “For their own reasons they decided that they’re not supporting it. There aren’t really any employees left. And those people who used to do those things”—licensing, custom books, original art sales—“have been let go. The people there are absolutely well-meaning, but they have no real idea of what this business is, who the cartoonists are, how you might leverage and maximize it.” 

Over the following years, the well dried up. The cartoonist who described an $8,000 check he received early on said he now sees at most a few hundred a month. Gregory said the same, as did several other cartoonists who I spoke too.

Mimi Pond lists the top ten graphic memoirs.

Matt Furie takes legal action using the DMCA against various alt-right groups.

Steve Foxe explains why Marvel's latest initiative, Legacy, won't save the company from declining sales.

Chris Ware on writing characters who come from a different background from him.

Charles Pulliam-Moore points out that the X-Men and the Mutants are not an ideal analogy for race, something I've been saying for some time now.

David Lewis on Muslim representation in comics.

Hayao Miyazaki and his portrayal of the supernatural.

Kevin Smith profiled by Abraham Riesman. Smith's early films wedded the 90s slacker ethic with unapologetic geeky obsessiveness, foreshadowing our pop culture landscape. However, his particular brand of storytelling hasn't aged very well. But while Smith has fallen out of favour as a film auteur, he's successfully reinvented himself as an online presence.

The Big Bang Theory serves as a continual reminder that Hollywood is committed to perpetuating the geek stereotype. Unfortunately, this tends to highlight some of the more negative aspects of fandom to the television audience.

Anders Nilsen explains why senators should vote NO on "Graham-Cassidy, the latest Republican attempt to dismantle Obamacare and rob people of their health care."

Anyone who follows my work at all closely probably knows that I have published two books about a particular illness and death and its aftermath. In March of 2005 my girlfriend at the time, Cheryl Weaver, was diagnosed with cancer – Hodgkins Lymphoma. Despite an initially positive prognosis the disease failed to respond to treatment, and in November of that year the disease killed her. In my books I didn't delve too deeply into the details of our particular odyssey through the health care system, but one relevant fact is that Cheryl didn't have health insurance. For several months before her diagnosis she had been dealing with a variety of what felt like unrelated, inexplicable, minor health issues. She hadn't gone to see a doctor because, at the time we couldn't afford it. The simple fact is that had she had insurance she may well have had a chance. And her story is far from unique. Lack of health insurance literally kills people every single day in America. Wealth should not determine who gets care in this country any more than it should determine who has access to the justice system or the political process. It doesn't have to be this way.

Lynda Barry has an advice column.

Star Trek: The Next Generation premiered on September 28th, 1987. It bestowed upon our pop culture landscape the great Patrick Stewart, the finest actor to ever grace the hallowed franchise. He would immortalize "Make it so," "Tea Earl Grey," "Shut up Wesley," not to mention his patented "Picard Manoeuvre." TNG's first season was pretty rough. And by that I mean it was practically unwatchable. But even early TNG succeeded in expanding the franchise with ideas that would go on to become essential to its worldbuilding.

Inhumans sounds like a crappy show made 20 years ago.

RIP Len Wein (June 12, 1948 – September 10, 2017). The legendary comic book writer was the co-creator of popular characters such as Swamp Thing, Wolverine, Nightcrawler, Storm, and Colossus. Bronze Age creators like Wein were among the first working professionals to rise from the ranks of organized fandom, and their work expressed sensibilities which placed them a lot closer to our modern fan-driven market.

TCJ posts an interview with Len from The Comics Journal #48, August 1979.

Sean T. Collins et al. lists the top ten film performances of the late Harry Dean Stanton (July 14, 1926 – September 15, 2017).

RIP Hugh Hefner (April 9, 1926 – September 27, 2017), founder of Playboy magazine, notorious for its glamour pinup pictorials. But at its height, Playboy also published notable cartoonists such as Jack Cole, Harvey Kurtzman, Will Elder, Jules Feiffer.

More NonSense: Ghost in the Shell Edition

Ghost in the Shell (1995)

Jakob Free provides a primer the comics of Warren Ellis.

Diep Tran on Scarlett Johansson defending the controversial casting of her as the lead character in Hollywood's remake of the 1995 anime Ghost in the Shell.

Emily Yoshida provides a primer on the Ghost in the Shell franchise.

[Spoiler alert]

The most surprising part of this otherwise bland appropriation of the 1995 anime is that the lead character Major Mira Killian (Johansson) is within the film's fictional setting a literal whitewashing of Motoko Kusanagi. If the cast and crew exhibited more self awareness, this bizarre plot twist could have been used as a jumping off point to examine the often uneven cross-cultural interactions between Japanese pop culture and Western consumers. Naturally, a few film critics quickly drew comparisons with the reveal in the contemporaneous Get Out.

But there's nothing in Johansson's performance which would indicate any emotional depth beyond the character's immediate concern over her amnesia/false memories. Being "essentially identity-less" apparently means the Major having no discernible personality even after she recovers her real memories. The troubling implications of wealthy white people kidnapping ethnic Japanese in order to plant their brains into android bodies with distinctly caucasian features are completely swept under the rug in favour of a more generic message about the individual will triumphing over venal corporate interests. This is a short-sighted pastiche of much better movies set in a dystopian future, and misses by a wide margin the philosophical introspection of the 1995 feature.

[End spoiler]

Since the film had a disappointing opening weekend, Joanna Robinson wanders if its commercial failure will have a positive effect on future casting choices.

Four actresses of Japanese descent give their opinions on the film.

Barry Blitt talks about drawing Donald Trump for the New Yorker.

Marvel's VP of Sales claims that readers don't want diversity. G. Willow Wilson pens a logical rebuttal. In essence, we're witnessing the comics market outgrow the traditional direct market.

On a practical level, this is not really a story about “diversity” at all. It’s a story about the rise of YA comics. If you look at it that way, the things that sell and don’t sell (AND THE MARKETS THEY SELL IN VS THE MARKETS THEY DON’T SELL IN) start to make a different kind of sense.

Meanwhile, Rob Salkowitz dissects the dysfunction hampering the direct market. These aren't new observations. But it bears worth repeating.

Because of this topsy-turvy arrangement with misaligned incentives and mismatched roles everywhere, the direct market has become a walled-off free fire zone where everyone is fighting for the same dollars, but is structurally incapable of expanding. Everyone wants new customers in theory, but it’s no one’s actual job to reach out to them and serve their needs if they are any different from the existing core. In fact, some people might lose their jobs (or find themselves in jobs they don’t want) if it were to actually happen.

As their site goes into hiatus (again), the ComicsAlliance staff talk about why they love comics.

Congratulations to Alison Bechdel, Vermont's Cartoonist Laureate.

Congratulations to the people working on Ms. Marvel and Black Panther for their nominations for the 2017 Hugo Awards.

Abraham Riesman on the time Don Rickles (May 8, 1926 – April 6, 2017) appeared on Superman's Pal Jimmy Olsen.

Ben Judkins asks whether lightsaber combat can ever be authentic.

G. Willow Wilson explains why Ardian Syaf's not so veiled reference (if you're Indonesian) to a Qu'ran passage in the pages of  X-men Gold #1 is a form of bigotry against Jews/Christians. Obviously not a good look for superheroes widely considered to be an expression of pluralism, and Marvel was quick to distance itself from Syaf's message. While not the first time the franchise has courted controversy, this case is more the result of not properly vetting the actions of the artist under their supervision. A cursory examination of the panels in question (as reproduced online) reveals that Syaf only made a minimal effort integrating those references into the setting. It's hard not to notice them, and they're pretty discordant with the rest of the comic's art. But the Marvel staff's relative ignorance of Indonesian politics and Islam probably allowed Syaf to hide them in plain sight, even though they should have at least raised a few questions about the meaning behind the text printed on Colossus' shirt. Naturally, someone would inevitably point them out once the comic was released. This is highly embarrassing for Marvel, and Syaf's tenure on the series will most likely be cut short at the publisher's earliest convenience.

R.I.P. Carolyn Kelly, daughter of Pogo creator Walt Kelly.

More NonSense: Die 2016!

The Beat Staff list their best comics of 2016, Also the best films, and games.

Vox lists their best comics of 2016.

ComicsAlliance lists their best comics of 2016.

ComicsAlliance remembers the people in comics who died in 2016.

Sean T. Collins on the Fascism of The Walking Dead.

Remember that infamous American Sailor Moon adaptation? Rich Johnston does.

Tom Spurgeon and Michael Dean present an excerpt (Pt 1, 2) of We Told You So: Comics as Art. That Gary Groth, what a scamp.

Sean T. Collins lists The 50 Greatest Star Wars Moments. Did you know that Star Wars continuity is a complete mess like any other longstanding franchise? And its politics are pretty extreme, to say the least.

Rogue One introduced the Guardians of the Whills, recalling one of the more obscure pieces of Lucas lore. But even more interesting is that these characters were played by Donnie Yen and Jiang Wen. Apparently, Chirrut Imwe and Baze Malbus are the new Finn/Poe? Makes sense to me.

But the most unfortunate news of all was the death of Carrie Fisher (October 21, 1956 – December 27, 2016), followed a day later by her mother Debbie Reynolds (April 1, 1932 – December 28, 2016), which I covered here.

Mark Peters dredges up the old debate of Jack Kirby's possible influence on the Star Wars franchise.

Beethoven!

Elle Collins on the repercussions faced by creators working on corporate properties when they express dissenting opinions.

R.I.P. George Michael (25 June 1963 – 25 December 2016). This year has been kicking our ass.

Whitney Phillips and Ryan M. Milner blame Poe's Law for making 2016 such a terrible year.

Please!

Go to: Dubious Pixels

You’re asking me, will my love grow?
I don’t know, I don’t know
You stick around now it may show
I don’t know, I don’t know
- The Beatles (Something)

Space Dandy (Ep. 1-5)

The weakest parts of Space Dandy are the boob jokes. That’s unfortunate, because the show leads with the titular character ranting about being more of a butt man than a breast man, then makes a beeline for the intergalactic version of Hooters, appropriately called “Boobies.” Sadly, thats not the only monologue within the pilot episode that could be described as rambling and stupid. But viewers who stick with it are rewarded with a monster-fighting action sequence that is remarkably well-staged, especially for a television series. Already five episodes in, its almost feature-film production values have hardly wavered. And that’s an impressive achievement.

There were a lot of unrealistic expectations heaped upon Space Dandy because its director Shinichiro Watanabe also worked on the acclaimed Cowboy Bebop and Samurai Champloo. All three series are about a small band of drifters surviving from paycheck to paycheck performing the most odd and dangerous jobs. That’s were the similarity ends. Unlike those earlier efforts, Space Dandy is aggressively upbeat. Not to mention light on continuity. The cast actually dies in the pilot episode, and things don’t get any easier for them from there. But this is an affectionate parody of those classic swashbuckling space adventures, so killing his cast, only to resurrect them in the next episode is just all part of the gag. Space Dandy the protagonist is a doofus, not to mention a sexist jerk. And that’s the point. It’s not a particularly profound point to make, but does it have to be? As the show itself exhorts, “Go with the flow, baby.”

And Space Dandy is a candy-colored visual treat. This is not the dystopian or post-apocalyptic future that currently pervades much of today’s sci-fi. The show's setting is a bit closer to yesteryear's shining world of tomorrow. It glides from one gorgeously-drawn set piece to the next. And there are almost always a bevy of aliens crowding the background, as if it’s constantly trying to outdo the cantina scene from Star Wars. To call it world-building would be way too generous, but there is plenty of stuff to marvel at - the endless variety of space ramen being consumed, a futuristic version of Twitter, Hawaiian-themed mecha, hideous transmogrifying monsters, or a hospital infested by space zombies. Every episode satirizes/pays homage to one particular theme (Episode five recalls Cowboy Bebop), and the one important plot point that carries over is a running gag about a villain who is hounding the oblivious Dandy for us yet unexplained reasons. The writing for this narrative structure is naturally uneven, but there haven’t been any horrible episodes yet. And Space Dandy can even be clever, such as when it subverts itself during the zombie episode.

Animax is currently airing the english language dub, which I don’t feel the need to complain about. I’ve gotten a lot less snooty about the whole dub vs. sub issue after years of reading poorly worded and overly-literal fansubs and scanlations. In this particular case, the anime’s producers have been targeting the foreign market from the very beginning, and they’ve done a better than average job matching the voice quality to the carefree tone of the series. So unless they’re trying to disguise the fact that Space Dandy is a serious existential drama in Japan, I’m down with that.

More NonSense: The Earth is F**ked Edition

Occupy Comics Black Flag

The title is obviously taken from Brad Werner's presentation at the American Geophyiscal Union conference in San Francisco: "Is Earth F**ked? Dynamical Futility of Global Environmental Management and Possibilities for Sustainability via Direct Action Activism". Coming from a group of scientists and academics, this is an uncharacteristic call to arms against the status quo. And with that, we count down to the end of the world as told by believers in the Mayan calendar.

Speaking of activism, here is Alan Moore’s Essay for the Occupy Comics Anthology.

Watch the anime-inspired Greenpeace video for their Detox our Future campaign.

Climate change deniers are hard to convince. What else is new.

In one of the odder moves to jump on the 2012 bandwagon, Australian prime minister Julia Gillard issued her own tongue-in-cheek announcement.

The second season of Doomsday Preppers recently began airing on Nat Geo Asia. I wander about the tenuous grasp on reality exhibited by some of the people in the first two episodes. Here's my review of season one.

Alex Kane notes the sillier side of this December 21st hullabaloo.

Watch Decay, a zombie movie filmed by physics PhD students at CERN's Large Hadron Collider facility. I can't even begin to imagine how cool that must have been to film.

Know what? If the doomsayers are right, my fat ass will be among the first to fall to the starving cannibal horde.

Here are Hollywood's dumbest apocalypses put on film.

In case you're not frightened enough, here are the ways technology can run amuck and kill us all.

The Chinese government is treating 2012 believers as serious threats.

Watch this lovely video based on Carl Sagan's Pale Blue Dot.

Annalee Newitz gives school survival tips to young geeks. I wish someone had given me this advice when I was younger. It could have helped.

I missed the memo stating that geek dads are the new MILFs.

Batman is superhumanly tough. How else could he still be fighting crime, despite enduring a long injury-prone career.

Is Superman Boring? No more than most superheroes who've been around for decades.

Video: Nemo

Pitch for Little Nemo in Slumberland produced by Studio Ghibli (via Laura Hudson)

Slideshow: Ozine Fest 2011

Flickr Album

Japanese creators react to the 2011 Sendai earthquake and tsunami...

...through art.

Haruhi Suzumiya prays for the victims of the
March 11 earthquake and tsunami, by Noizi Ito

Son Goku and Arale Norimaki, by Akira Toriyama

From the "Smile" series, by Takehiko Inoue

Billy Bat characters, by Naoki Urasawa

via Rich Johnston and Anime News Network link-blogging: here, here, here, here...

Sending best thoughts and wishes to those in Japan

More NonSense: Looking Back, Looking Forward

Diesel Sweeties by Richard Stevens

I can't say that this was a good year for me. But I certainly did blog a lot more than I did last year. Or the year before that. That's almost three years of steadily increasing productivity since I began this little experiment in self-expression - A very faint victory. So now what? Things are still as precarious as ever, so no promises will be made. Frankly, I'm terrified for the future.

The Year that was 2010

Brigid Alverson link-blogging
Kevin Melrose link-blogging
Joe Gross: The best comics and graphic novels of 2010
Scott Cederlund: Least objectionable comics of 2010
Bob Temuka: A top ten comics for 2010 10, 9, 8, 7, 6, 5, 4, 3, 2, 1
Katherine Dacey: The best manga of 2010
Dave Ferraro: 10 Best Superhero Comics of 2010
Dave Ferraro: 10 Best Manga of 2010
Derik Badman: Best Print Comics of 2010
Derik Badman: Best Webcomics of 2010
Kevin Church: Not A Best Of: Comics In 2010
Matt Seneca: My 10 from 2010
Dave Carter: Amazon Top 50
Andrew Wheeler: My Favorite Books of the Year: 2010

Tom Tomorrow: 2010 The year in crazy, Pt 1, 2
Tatsuya Ishida:  Live a Little
Paolo Chikiamko komiks reviews link-blogging
Stephen Saperstein Frug: A Final Quote for 2010
Roland Kelts: Looking back to move forwards: A few good gift books
Tom Spurgeon: Some Of The Great Comics People Lost To Us In 2010
Brad Rice: Japanator's top 10 anime series of 2010
Brigid Alverson: 2010 The year in digital comics
Brigid Alverson: 2010 The year in piracy

Welcoming in 2011

Douglas Wolk: What we're looking forward to in 2011
Kevin Church: My only resolution for 2011
Sean Gaffney: Manga the Week of 1/5
The Ephemerist: Happy New Year!
Dean Haspiel: Happy New Year
Richard Stevens: Marking Time
Curt Purcell: Fuck both years, old and new
Brigid Alverson: Welcome to 2011

Other

Zack Smith: An Oral History of CAPTAIN MARVEL, Pt 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14,
Dan Kanemitsu: How Bill 156 Got Passed
R. Fiore: Another Redheaded Ending, Pt 1, 2
Noah Berlatsky: Odd Superheroine Out
Nicholas Gurewitch: Memorabilia
David Welsh: Pretty maids all in a row
Ben Huber: Yotsuba & Strangers 
Ben Huber: Yotsuba & Acorn Park
Dirk Deppey: The Mirror of Male-Love Love
Sean Kleefeld: Say Dat Ain't As Funny As It Looks See

Satoshi Kon (October 12, 1963 – August 24, 2010)

Scene from Tokyo Godfathers

With feelings of gratitude for all that is good in this world, I put down my pen.

Well, I'll be leaving now.

- Satoshi Kon

More NonSense: Bad Philosophy vs. Good Porn

(updated)

Shaenon Garrity reads Ken Smith so you don't have to. Elsewhere she asks: Where have all the good porn comics gone?

All Things Considered covers the Reki-jo subculture.

J. Michael Straczynski continues the proud DC tradition of periodically destroying Wonder Woman's life. Good for you DC.

Marc-Oliver Frisch decodes the secret to Mark Millar's success:

Millar's brilliant shtick involves grabbing the reactionary self-loathing you find among many of the predominantly white, male, middle-class superhero (and, possibly, action-movie) audience by the balls and using it to his own advantage. His work speaks to the fears of being an emasculated loser and the resulting resentment against those to whose level you don't want to sink, those who are perceived to be even weaker and lower on the totem pole of society: women, ethnic minorities, homosexuals.

Feminists are putting the hate on Tina Fey.

Yamasaki Osamu (via Welcome Datacomp) tackles the wage discrepancies within Japan's anime industry.

If Tom Spurgeon's survey question could be expanded to list six superpowers, I would add healing factor/immunity to all disease, to my five choices.

Matt Maxwell and others say the future of comics is digital (and possibly on a tablet).

Adobe Photoshop CS5 Extended. Finally. Read about it.

Thom Hogan argues passionately for a more modular, flexible, efficient, and web-oriented camera design.

Slideshow: Ozine Fest 2010

Taken yesterday at SM Megamall. I'll be adding more photos to the collection in the coming days.

More NonSense: Post Holy Week Edition

Footnotes in Gaza by Joe Sacco. One of the best comics of 2009.

Tom Spurgeon finally posts his "best of 2009" list. This time he splits his choices into subdivisions like best archive reprint, or best first print collected edition. I'm not one to put too much stock in "best of" lists. But if I did, Tom's is a good a place to start.

CNN's belated report on the controversial video game RapeLay is predictably broad and sensationalistic, and prompted mangaka Nogami Takeshi to write an open letter protesting the stereotyping of Japanese culture. The highlight of the letter is when he quotes the Gospel of John 8:1–11. Score one for Takeshi!

David Welsh writes in appreciation of the geek-oriented series Glee. The television show premiered over here on cable less than three months ago. It's populated by the usual collection of high school stereotypes and bufoons - some highly irritating and some pretty amusing. The writing is hit or miss, but the singing is both infectious and bolsters the generally optimistic outlook of the show.

Speaking of cable TV, I'm not too crazy about Animax Asia. The channel usually broadcasts english dubbed versions of various anime serials, which wouldn't be half as annoying except that the quality of the voice acting is mostly indifferent. But they also air subtitled versions of more current anime, which usually prompts me to complain about the poor subtitling. One example which is nearing completion is the delayed telecast of Fullmetal Alchemist: Brotherhood. The anime is as far as I can tell, a faithful adaptation of the manga, which is pretty grim for a shonen series. The channel's subtitles tend to err on the side of literal but clunky translations. Another which recently began airing is the anime version of the yonkoma K-On! The series is as pandering as any moe-inspired seinen comedy. Think of it as Glee with J-pop in place of Broadway show tunes, and without the sex or the bitchy popular kids. It's available in subtitled and dubbed versions so viewers can choose which is less grating to them.

I'm Going to Change!

Have Fun

Cutey Honey Desktop Wallpapers

I'm Going to Change!

Honey Flash!

Cutey Honey Desktop Wallpapers

I See Dead People

That's my neighbor Mr. Horikoshi...

Azumanga Daioh Desktop Wallpaper

Watching Kimura Sensei

You see, he is a normal person after all

Azumanga Daioh Desktop Wallpaper