AJET CONNECT Sample Works

MEG LUEDTKE

Inside | AJET CONNECT Magazine Example Works

SAMPLE WORKS Assistant Designer (2020) & Head Designer (2021) | *Cover Design Rebranded for 2021 Year

Business & Language, Arts & Culture, Lifestyle, Community

September 2019 - August 2021

AJET 1*This cover is used to show my personal work re-branding the magazine and for visual purposes only. This work is not associated with the official CONNECT magazine or it’s issues. The official magazine can be found here.

CONNECT is a publication created voluntarily by the English-speaking community living abroad in Japan, sponsored by National AJET. This issue is a sample of some of the work I have done for AJET CONNECT Magazine between September 2019 to August 2021.

As an Assistant Designer, I was in charge of designing and organizing the Arts and Culture section, which was comprised of articles about Fashion, Arts, Entertainment, and Culture. Each sub-section had between two to three articles.

Tasks included ability to work with a quick turnaround, communication, time management, ideation, conceptualizing, and designing of all content within the publication time frame.

In July of 2020, I took over the role of Head Designer. In addition to my former tasks of designing and organizing the Arts and Culture section, I was in charge of team management, publication, creation of social media posts and communicating with social media manager to ensure timely announcements, etc.

Please enjoy these samples and contact me at meg.lue95@gmail.com if you have any questions!

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FOR LOVE OR VENGEANCE

愛

Rebecca Paterson (Kyoto)

愛や復讐のために

THREE HAUNTING TALES TO START YOUR HYAKU MONOGATARI Cooler temperatures, crisp autumn skies, and shorter days—the traditional spooky season of Japan has long passed with the end of Obon in mid-August, but, for many of us, this gradual decline into the lifelessness of winter brings with it the anticipation for our own festival of the dead. For this year’s Halloween, how about something a little different? Japan is well known as a country of rich paranormal traditions, diverse folklore, and terrifying filmography that both haunts and delights the imaginations of all. For those of us who enjoy the thrill of fear, one ghost story isn’t enough. But what about one hundred?

Hyaku Monogatari (lit. one hundred stories) is a form of entertainment that grew in popularity during the Edo Period (1603-1868). A group of friends would bring a mirror into a dark room, then light one hundred different candles around it—though nowadays electric lights, TVs, and phones also suffice. One by one, each person would tell a ghost story. Upon finishing each story, a light would be extinguished.

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Much like a seance, tension, excitement, and fear escalate with anticipation as the room slowly dims. When all 100 frightening tales have been completed and the storytellers are finally enveloped in darkness, a spectre is said to appear in the mirror.

If you’d like to try Hyaku Monogatari yourself this Halloween, here are three of Japan’s extraordinary supernatural tales to start you off:

YOTSUYA KAIDAN In Yotsuya, Tokyo, there was once a masterless samurai named Iyemon who desired to marry a beautiful woman, Oiwa. However, her father was aware of Iyemon’s unsavory character and refused his request. In a rage, Iyemon murdered him and blamed the crime on bandits. Iyemon then convinced Oiwa to marry him by promising to avenge her father’s death.

Their marriage was not a happy one. Growing increasingly frustrated with his life of poverty, Iyemon began to direct his pent-up anger onto Oiwa. As his feelings of resentment grew, he began an affair with a wealthier woman, Oume.

Together, they conspired to murder Oiwa in order to marry. Oume prepared some poison and Iyemon then gave it to Oiwa, claiming it was makeup. However, the poison did not kill Oiwa, and instead left her face mangled and bleeding; her left eye began to sag, her skin scarred, and her hair fell out. Disappointed with his failed attempt to kill her and growing disgusted with his wife’s face, Iyemon bribed a local man, Takuetsu, to rape Oiwa to provide a grounds for divorce. On the night Takuetsu attempted to commit his crime, he

was put off by Oiwa’s ghastly appearance. In response to her disbelief, Takeutsu showed her a mirror, and she flew into a rage, grabbed the nearest sword, and attempted to kill him. In the ensuing struggle, Oiwa fell and cut her own throat.

Iyemon finally succeeded with his engagement to Oume, but on the night of their wedding an apparition of Oiwa appeared before him.

Panicked, he unsheathed his sword and cut off the spectre’s head—before the vision disappeared, revealing the decapitated body of Oume. Iyemon was shocked at his heinous mistake and fled the room. Before him, again, appeared Oiwa, and, again, he slashed at the phantom. This time, however, Iyemon had slain his father-in-law. With no way to redeem himself, Iyemon purged his bride’s family and fled from the town. Wherever he went, he was pursued by the ghost of Oiwa, her face manifesting in lanterns, and her dishevelled hair attempting to ensnare him.

Descending into madness, Iyemon fled into the forest, where he was eventually hunted down and killed by his brother-in-law.

It is said that Oiwa still haunts to this day.

Yotsuya Kaidan’s ghastly imagery and relentless haunting of the wronged Oiwa make this one of, if not the most, famous ghost stories in Japan. First told in a masterful and grisly Kabuki production, Yotsuya Kaidan gripped the imagination of the masses of the 19th century.

Even now, Oiwa’s image has defined what we associate with modern Japanese ghosts— vengeful, unrelenting, and grotesque.

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A Brief Introduction to Kabuki

Rachel Fagundes (Okayama)

Kabuki theater, with its striking face paint, wild wigs, and bold poses, has become an iconic image of Japan internationally. However, the art form is not always well understood abroad, or even by Japanese people. The heightened and archaic language can make the dialogue difficult to access even for native Japanese speakers, and its stylized form is an extreme departure from the more naturalistic style of acting preferred in the west.

Nonetheless, this unique form of theater is a delight, and well worth experiencing if you get the chance.

Kabuki, which derives its name from the Japanese word for “bizarre” or “outlandish,” is currently the most popular and well known of Japan’s traditional theater forms. Its plays usually have a five act structure

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Photos: Wikimedia Commons & Rachel Fagundes

and are performed exclusively by male actors, appearing in both male and female roles. Men playing female characters are known as onnagata and have developed highly stylized posture, gestures, and mannerisms to capture the ideal of alluring feminine beauty in their performances. In fact, all of the roles in kabuki are quite stylized. Audiences can spot certain character archetypes by their costumes and makeup. The actors paint their faces stark white and exaggerate their features using colorful paint that not only made their features easy to see in the dim Edo era theaters, but also communicates their character’s social standing and temperament.

Wild, blustering, warriors would be made up very differently from thoughtful, delicate aristocrats, or

scheming villains. The actors speak in a kind of old, elevated Japanese, somewhat akin to Shakespearean English. They are accompanied by musicians and a narrator or storyteller, who apparently speaks in an even older and less accessible form of Japanese.

Although modern kabuki may include more variation and experimentation, most traditional kabuki falls into one of three main genres: Jidaimono (Historical Dramas), Sewamono (Domestic Melodrama), and Shosagoto (Dance).

As in Noh theater, kabuki acting is passed down in family lines, often from father to son. Kabuki actors will also take on, and pass on, their father’s stage name. Some particular plays are performed only within certain family

lines, while the most famous and popular plays are known to all troupes.

Kabuki connoisseurs may even delight in comparing how a father and son will interpret the same roles.

If this all sounds a bit dry and formal, you may be surprised to know that kabuki has quite a wild history. It was even seen as a dangerous influence by the Tokugawa Shogunate, which struggled (and generally failed) to contain and regulate kabuki for hundreds of years.

Kabuki was actually founded by a woman, Izumo no Okuni, in 1603. In its early form, kabuki consisted of dancing and short, often funny or provocative,

skits performed by women who wore outlandish men’s clothes, sometimes carried swords, and played both male and female characters. This form of kabuki caused a sensation and became wildly popular (until 1629 at least, when it was banned by the shogun on account of being too sexy).

The actresses who founded kabuki were then replaced by adolescent boys, who were themselves banned shortly thereafter—also for being too sexy. Eventually, adult male actors took over the roles and were allowed to perform. At this point, kabuki evolved to have less emphasis on dancing and more on narrative and drama.

Unlike Noh, which was the theater of the upper class, Kabuki was the theater of the common people. It flourished throughout Edo’s Golden

Age from 1673–1841. Numerous kabuki theaters were built in Edo’s entertainment district, and lively theater districts appeared in Kyoto and Osaka as well. Bunraku puppet theater developed alongside it, and the two art forms frequently borrowed popular scripts and innovations from one another. Many tropes and conventions of the art form were codified during this period, including the act structure and genres. Kabuki also developed into two prominent styles of performance: Aragoto (rough style), which is characterized by dramatic Mie poses, and bright, stylized Kumadori makeup, and Wagoto (soft/gentle style) which is more natural.

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Kelley Kaminsky

NEW PERSPECTIVE Kelley Kaminsky o ON AN OLD DRINK Shares Fresh Take For many people, their first exposure to sake occurs at a sushi bar, usually served warm, in a small carafe, or tokuri, and sadly, stops there. An experience that does the drink a great disservice. Sake is far from a one-and-done beverage. Despite its relatively simple ingredient list, it can be brewed into a variety of styles with unique flavor profiles. Sake, more aptly called ‘nihonshu’ (lit. Japanese alcohol) has a long history spanning back almost 2000 years making it an important part of Japanese culture. However, in recent decades drops in domestic sales have encouraged breweries to look overseas for new sales opportunities and in turn, hire on new staff to

酒

help them tap these markets. Kelley Kaminsky is o such hire and has been working in sales at Nishiya Brewery in Hyogo Prefecture since 2017, helping bring a new passion and understanding to the of overlooked world of sake.

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of Nishiyama Brewery e on Sake

one ama g to ften

Kelley found her current position at the brewery the way many of our peers find jobs in Japan; at the After JET Career Conference in Osaka. “Of all the participating companies they were the only sake brewery listed which intrigued me . . . I came for a brewery tour, did a couple interviews and the rest was history.” Kelley’s first love was beer, her degree in Japanese Studies was plan B, a step away from the world of fermented adult beverages, or so she thought. After moving to the cultural hub of Kyoto where she worked as an ALT for three years, her love of sake developed through visits to local breweries and sake bars. When it came time to leave JET her new job took her to the pristine rice fields of Tamba City in Hyogo, a region famous for sake production.

Nestled in a quiet valley, in the heart of the prefecture, Nishiyama Brewery has been creating premium sake for 171 years. Rice and water, the main ingredients of sake, are abundant and pure here and Nishiyama even grows a portion of their own rice to supply the brewery. This brand of sake is decidedly different from the futsuushu or ‘standard sake’ you’re likely to be served at a sushi counter. Nishiyama brews award-winning sake including ginjo varieties where the rice is more polished, leaving a starchier grain, resulting in a cleaner, more aromatic product, as well as junmai (lit. pure rice) varieties, made without any added alcohol or sugar resulting in deeper flavors.

SAKE 16%, slightly higher than that of wine. In addition to rice and water, fermented rice called koji, and sake yeast are used in the brewing process. Nishiyama makes their own koji at the brewery and imports their sake yeast from a long-time business partner in nearby Osaka. “I would say the most crucial part of the [sake making] process is koji-making, it’s so important. It’s also important to have a strong shubo (yeast starter)” says Kelley.

In order to better promote the Nishiyama brand to overseas customers, she has gained hands-on experience brewing sake. Kelley was instrumental in the creation of their first new release in 105 years, with the goal of making something completely different from the brewery’s flagship brand of sake. “I chose what yeast I wanted to work with, what variety of rice would pair well with it . . . in one of the sakes I chose to use a lower percentage of overall rice added into soe-shikomi (the first of three additions of water, koji, and rice in the four-day brewing process). The goal of this was for the fermentation to start a little more slowly, resulting in a longer fermentation process at lower temperatures to get a beautiful, clean sake. I also used a rice that doesn’t tend to lend a massive amount of umami, to allow the characteristics of the yeast to shine through.” In order to appreciate this new brand of sake, named Yamato Tamba, Kelley recommends focusing on the balance of acidity with the umami from the rice.

“There are a wide array of possible flavors and aromas” explains Kelley. “One example of fruit characteristics you may look for in a ginjo sake are green apple, pear, or banana to name a few.”

Although sake has its roots in Shinto ceremonies and is often used to celebrate special occasions, she insists quality sake is something that can be enjoyed regularly. Her recommendation is to drink it slightly chilled, not too cold or the flavors can get lost.

Sake is more closely related to beer and wine than to spirits like whiskey or vodka. It’s brewed, not distilled, and has an alcohol content of around

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k r o W t a h Stylis elise Wilp

Ann n (Tokyo), w o r B l a t n

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Chantal Brown The alarm goes off at six and every pleasant dream shatters into the bleary wakefulness of morning. From then on, it’s a mad rush stumbling over sheets and tripping over my own feet to get to the bathroom. The time always slips away so quickly between waking and getting ready for work. If you’re anything like me, even more precious seconds tick by retracing steps because I’ve forgotten my apartment key, or train pass—or deodorant.

As an assistant language teacher, fashion and nitpicking what you wear may not be the foremost thing on your mind. Especially when dress code regulations fall on the more conservative side, it may not inspire creativity to play around with your wardrobe and try different looks.

Sometimes I’ll second-guess a skirt or dress, whether it’s appropriate or too showy, but I’ll still take that risk.

For me, dressing for work is more than just abiding by the rules and being professional. As with most fashion, how I dress is a statement; an expression of my style and the things I like. Bold prints, bodycon dresses, bright colors, elegant chic tops, pleated and flared skirts—even girlish garments—are important parts that make the sum of my wardrobe.

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Whenever I go through my closet, I’ll look at colors that contrast nicely, and articles of clothing that would make a good outfit. Burgundy blends well with beige and navy blue; the pleated yellow skirt with twin black bands around the waist goes well with my black, silk long-sleeved top. The process goes on and on as I set aside suits for the week. Or the month.

The winter period had me donning more sweaters and heat-tech layers than I would have liked. But some days I still put together looks that made me feel good. That’s part of what fashion is for me: something that can generate positive vibes for me and perhaps those around me.

There is no question that when you look good, you feel good. Your entire attitude can be influenced by how you perceive yourself and how good you feel at any moment. This is part of the reason I shopped around for bright colors in particular. Early mornings and I don’t go together, but seeing myself in flowery colors can instantly soothe my grouchiness.

When you like the way you look, it can help you walk with more poise and confidence. To take it a step further, your appearance can help set the tone for the day. Everyone’s

style is different, but there is a one commonality—if it looks people will admire your style. A no-brainer is the fact that yo make an impression just by th you carry yourself.

Admittedly, I’ve never really much for fashion. I always for easier, more neutral colors blending in. But the more I ski through business and bus casual looks, I found it suite growing tastes for casual, clas elegant chic designs. Plus, fun to experiment with differen from your wardrobe!

Winter wasn’t my favorite perio rocking coats with faux fur a the collar made up for the l dressing up. Spring will see more dresses with flower patte match the blooming cherry blos chiffon tops, skirts, and the hee have been sadly catching dust shelves in my closet.

How will you be dressing this S

Chantal is a first-year JET w in Shibuya. Hailing from the t island of Jamaica, she seeks to cultural ties between her count Japan in her own way. Her spar is normally spent writing and the best eating spots around he

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Photos: Chantal Brown11

Photo: Kosmic Sans

Moving to the worst thing fo gave me, a fr clean slate to presentation. isolated like from any real

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When I left language sch soda ready to had been joy it to the city. I would start th the Johnny seventy clas “My name is

FALLING I N L O V E W ITH JAPAN ’ S D R A G S CENE

OK KYYO TTO O IISS

BUURRN B NIIN NG G

Kat Joplin (To k

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e inaka of Oita, Japan was the best and or my queer agenda. On the one hand, it reshly out-of-the-closet genderqueer, a o reinvent myself and change my gender . On the other, I was geographically never before, and prefectures away l gay scene.

JET in 2018 to enroll in a Japanese hool in Yokohama, I felt like a bottle of o pop. My three years in the countryside yous and fulfilling, but finally, I had made I decided I would be “that gay student.” I he year off loud and proud, flamboyant, Bravo of nonbinaries. In a room of ssmates and faculty, I stood and said: s Kat. I study Japanese literature. I’m

X-gender and prefer ‘kare’ or ‘anohito’. Yoroshiku.”

The room clapped loudly.

After orientation was over, one of my classmates approached me.

“I really liked your jikoshoukai,” they said. “I’m kinda private about it, but I’m X-gender too. Do you watch “RuPaul’s Drag Race”?”

This was how I met my drag sister Angel Heart, the first fellow nonbinary person I had met since coming out four years earlier. Over the following six months we would bounce from binge-watching “Drag Race”, to experimenting with makeup in my apartment, to going out to gay clubs and drag shows in Tokyo, to planning our own drag debut that June.

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MAKING VIDEOS

IN JAPAN Interview with a YouTube Creative 14

Bobby Coutu (Okayama) | Rachel Fagundes (Okayama)

Q: Tell me about your YouTube channel, Q2 Japan!

What kind of content do you make?

In a nutshell, my channel is filled with all kinds of content about life and culture in Japan.

Whether it be about festivals, martial artists, katana artisans, izakaya owners —if it’s related to Japan, I’ll show it. I have no CGI skills and I do most of the production by myself, so a lot of the videos are short, 5-10 minute interviews. But my channel has no absolute style, so I like to try new ways of recording and editing. For example, I’ve made a few cooking videos with expat friends where they share recipes from their respective cultures. Other videos are more instructional, where I try to inform the audience about IC cards or ESL in Japan. If anyone out there wants me to try something or wants to collaborate, I’m always open to these creative ventures.

Q: How did you get started making videos?

My first video was in October of 2018. I started off making travel vlogs on my channel, mainly as a way to practice my video production skills. I had been doing professional photography for about a year and a half and upon a friend’s suggestion, I took up videography after moving to Okayama in September of 2018 (so my first video was soon after that). YouTube just seemed like a practical outlet for experience.

Q: Tell me about the process of making a video.

Pre-production is often the biggest pain in the butt when it comes to video making. This is where I typically start contacting people about a video idea (because most of my videos are documentary style). If I already know someone who fits the bill for an interview (e.g., I want to interview a calligrapher and happen to know an excellent calligrapher), that’s amazing. But half the time, I have an idea but no real leads. So I

ask a bunch of my friends if they know anyone or know anyone who knows anyone, etc. . . . Some projects build up speed quickly and others fizzle within days. That’s why it’s important to write down your ideas and to keep trying as many as possible.

Production is where I’m actually going out to the shoot location and recording video. This is usually the most stressful part, but also the most insightful. You learn a lot from going to various locations, meeting people, and listening to their stories. I always forget something (whether it’s a camera setting or spare batteries), so it can get stressful. But that’s a part of usually working as a one-man crew.

Post-production is actually my favorite part of video making. It’s where you collect everything you’ve worked so hard to record and cut it up into something that’s entertaining. It’s tempting to render out a video and upload right away, but I’ve learned over the years that there’s no rush, so just take your time and make a few drafts.

Q: How have you taught yourself to improve your videos over the years?

A lot of trial and error will go a long way toward improvement. I always try to listen to people’s comments and suggestions, even if it hurts. If video making is something you’re serious about, you just have to be willing to get your ego hurt.

I also use YouTube tutorials a lot for editing and shooting tips. We live in an amazing time for shared information!

A few specific things I needed to improve at the beginning were: ➢ shooting at appropriate frame rates and shutter speed ➢ understanding camera movement ➢ improving audio quality ➢ learning the basics of linear editing

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in the Digital Age

Rachel Fagundes (Okayama) | Reese Mills (Okayama) ungeons & Dragons is awesome and you should be playing! If you aren’t already, good news: D&D is now easier to play than ever before, and Reese and I have assembled lots of excellent online resources to help you get started. Even better, new developments have made

it possible to play D&D online, making it the perfect way to stay creative, connected to friends, and having fun while quarantining at home or struggling with an isolating rural placement.

So, without further ado, here’s our guide to some handy resources for D&D that can help you set up a game online whether you are an old pro or a complete beginner.

D

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So, What is D D? If you’re really lost so far, don’t panic!

Dungeons & Dragons is a fantasy roleplaying game inspired by fiction like The Lord of the Rings and the works of Robert E. Howard. Basically, a group of (usually 4-6) friends will get together to tell a story. One person will act as the DM (Dungeon Master), who will run the game and describe the environment, people, and obstacles that the players encounter. The other players each invent a character, whose actions and choices they describe throughout the game. Dice rolls are used as a fair way to determine whether a character succeeds or fails at actions they attempt to take. And thus, a story emerges.

The tone of games can vary wildly from group to group, from wacky shenanigans to epic adventures, mystery, drama, horror, and everything in between. Ultimately, it’s a game crafted by your imagination, and a great chance to spend time with your friends in a fun, creative, and collaborative way.

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D D Beyond DnDBeyond.com is D&D’s official website, and it’s a treasure trove of useful tools and info, whether you are playing in person or online.

They have everything from a basic intro for new players here to a pretty extensive free guide to the rules here. (If that looks intimidating don’t worry! It’s ok to just jump in and learn as you go!) There are searchable and sortable lists of spells, feats, monsters, magic items, and more just waiting for you to explore. They also have a great Quarantine

Resources section to help folks play online, that features free campaigns your group can use to get started. D&D Beyond also has a great step-bystep walkthrough of character creation and (my favorite feature!) absolutely outstanding digital character sheets. You can click any feature on the character sheet for handy rules explanations, and automatic calculations make leveling up a cinch. This is honestly a fantastic tool for both new and experienced players and makes D&D easier and more accessible than ever before.

DM Tips

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As the DM, you can create a game group on D&D Beyond in the My Campaigns section. When players join your game group, you can see all their character sheets, making it easy to help players check rules and keep track of information.

features or by manually adding them using the Homebrew option on the site. Members of your group will have access to any homebrew rules you’ve added, and any rulebook content you have purchased, giving the players the opportunity to get around paying for content.

While most basic content on D&D Beyond is available for free, some options and abilities are only available if purchased in the online store. You can get around this by either not using those additional

If you want to purchase rulebooks or a campaign adventure, you can do so here. The online versions have handy hyperlinks, allowing you to access the relevant information more easily than in a PDF file or a print edition.

DM Tips As the DM, you gain the ability to give players control over tokens, prepare multiple map pages to switch to, play music, hide or reveal maps and tokens during game, and give out informative notes or handouts. They have a great video guide for DMs to help you get set up.

Online Tabletops D&D is usually played around a table, snacking and laughing with a group of friends. Some DMs provide maps or drawings to help the players visualize the space they are in. And of course, everyone has dice to roll when the action starts heating up. So how do you transfer these things into playing online?

Online tabletops are set up specifically to recreate your cozy kitchen table online, and provide all the tools you need to play in one place. There are a few different online tabletops to choose from, but we recommend Roll20 since it’s free and awesome.

The players and the DM can all log into Roll20 together to see shared maps and character placemarkers. There is also a digital dice roller that allows everyone logged into your game to see the rolls, which keeps the game honest.

Roll20 has a Skype-like video and audio chat option built into its toolbox, so everyone can see and speak to one another throughout the game. There are even nifty tools that your DM can use to add background music to your adventure. You can check out Roll20’s video guide for players for a more in-depth explanation of their various cool features.

When setting up, you can manually add everything, or you can purchase a campaign adventure in the Roll20 Shop, which will give you access to the PDF and the ready-to-play premade Roll20 maps for that adventure.

Note: While online tabletops can be helpful tools to enhance your game, they are not actually necessary in order to play D&D online. Less tech-savvy groups may be happier skipping all that and just sticking to the three basics: 1. Character sheets (shared with your group on D&D Beyond) 2. Dice (like this digital dice roller if you don’t have our own) 3. Friends (you can just Skype with your group members or use any other similar service) And let your imaginations do the rest!

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From Pen to Plane to Projects

An interview with an Australian concept artist living in Japan

Stephanie Lee (Tokyo) | Natalie Andrews (Tokyo) Recently, I had the chance to chat with Stephanie Lee, an Australian who now lives and works in Japan as a concept artist for a gaming company! Have a glimpse into her background and find out how she got where she is now in the following interview.

When did your interest in concept designing begin?

My interest began in my childhood because I loved drawing and playing games, especially Pokemon! I loved drawing different Pokemon and even creating my own. As I grew older, my interest in games expanded to other genres and titles and I found out there’s a job position in game development called “Concept Artist” where you get to draw and design characters for different games! I thought this sounded like the perfect job for me!

How did you find a job in Japan?

After I graduated university, I was introduced to the people at IGDA (International Game Developers Association) Japan, where they let me tour a few game studios in Tokyo. One of these studios was interested in my portfolio, told me to apply and thankfully they decided to hire me!

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What kind of games does your company create? Is their aesthetic different from your personal style; if so, how have you had to adapt your style to their requirements?

My current company specialises in action games, but I can’t say any more than that.

I did most of my training and studying based on what Western companies would be looking for in a portfolio, so coming to Japan I did have to adapt and change my style and colour palette. For example, currently, the trend in Western AAA games (high-end consumer games) is focusing on hyperrealism, with popular genres being post-apocalyptic and open-world. This tends to create a more dull and dark colour palette. Whereas on the other hand, I think Japan has its own unique aesthetic and focuses more on stylistic beauty rather than realism, so Japanese companies are also open to a more variety of styles (like anime or using cell-shading).

I like to think my specialty is being able to adapt to a lot of styles fairly easily, so I think it’s a fun challenge. 21

How do you approach your projects? What comes first in your design process? It depends on the task. Whether it’s illustration or concept design, my approach will be slightly different but generally speaking, either way, I’ll start with doing a ton of research and collecting my visual references.

Once I’ve collected enough information, I start to put my ideas down. I would have to do a few variations and this is usually when I would get my process checked by a superior, who would guide me to the most suitable iteration.

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Any difficulties you’ve faced that you think are unique to the Japanese entertainment/game design industry? I’ve actually never worked outside of the Japanese industry, though I am interested in experiencing what it would like working in other countries. The most obvious difficulties for me would be overcoming the language barrier and cultural differences. The very beginning was hard for me as people here would act and react quite differently to the way I am used to back home in Australia. I would say it took me a full year to finally be comfortable with working in Japan and understand the cultural differences.

Which out of all of your projects are you most proud of? I’m proud of most of the projects I’ve worked on, some pretty big titles! However, unfortunately, due to NDA I can’t disclose what projects I’ve worked on.

Has your perspective on your work changed during your time here in Japan?

It made me realise how much harder game development and design actually is, and a lot of the job heavily relies on your communication skills.

But I think that’s what everyone learns at their first real job in the industry!

So, you’ve done freelance projects in the past! How did you source these? When I did freelance, most of the jobs I found were through personal and professional connections and maintaining an online presence. With connections, for example, some of my artist friends would be too busy or had been offered a gig that didn’t really suit their style. Sometimes they would pass it on to me, and I also do the same when it happens to me.

What advice would you have for anyone looking to explore concept designing for the game industry in Japan? Nowadays, entering the game industry seems to be becoming more accessible since the industry is growing bigger. Nonetheless, I would prioritise polishing your portfolio, understanding what your desired company is looking for, and making yourself known amongst the game developer circles by networking!

Stephanie Lee is an Australian illustrator and concept artist currently working at a game studio in Tokyo. Her specialty is being able to flexibly adapt to a wide range of art styles and she is currently enjoying the challenge of creating work for realism-based to anime-style projects.

Instagram | *All images owned and provided by Stephanie Lee

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Gamers Convene Online for the

2020 Tokyo Gam Ah, the comforts of home. No long lines or smelly otaku to distract you from the delights of the 2020 Tokyo Game Show.

That’s right; this year TGS was held entirely online due to the Novel Coronavirus pandemic and ongoing apocalypse that is the year 2020. But, uh, at least the games are good!

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me Show

Nathan Post (Gunma)

Though it was originally scheduled as a physical event, the planned press conferences and developer panels were instead streamed through the official TGS YouTube page, as well as the pages of various game publishers presenting at the event. While there were some inevitable technical difficulties, for the most part the streams went well without any 2020-grade catastrophes.

One of the added bonuses of this format was that developers were often responding and reacting to the comments sections of the stream in real time, so there was more interactivity between the fans and the presenters than in previous years. Some streams also had live interpretation layered over the Japanese speakers, avoiding the usual pauses at physical events.

As an online show, this year’s TGS was devoid of much of the scale and spectacle of the floorshow of previous years, but as a result, the focus was squarely on the games. So, without further ado, let’s discuss the online presentations and biggest and most interesting titles from TGS 2020.

Note that because this year’s TGS was all online, you too can experience the joys of trolling through hours of video in search of tasty morsels of information! Just check out the Tokyo Game Show 2020 Online official YouTube page here.

©︎ TOKYO GAME SHOW 2020 ONLINE

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26 Photos of the crowds at TOKYO GAME SHOW 2019

Nier Square prioritized showing off Nier Replicant, a remake of the original Nier game. Nier flew way under the radar when it first came out back in 2010, but Platinum Games’ absolutely stunning follow-up, Nier: Automata, garnered enough critical acclaim and attention in 2017 to revive the series and inspire this remake of the original title.

During the stream, they showed off gameplay of Nier Replicant for the first time, and it indeed appears to be an enhanced and expanded version of the original—somewhere between a remaster and a remake. While maintaining the overall look and style of the original, it introduces expanded combat options to the title. This update brings it more in line with the fast-paced combat of Automata, which was more reminiscent of Japanese character-action titles like Bayonetta and Devil May Cry. Square also teased a new title in the series, Nier Reincarnation, for smartphones, though without any real gameplay or details shown.

In the meantime, even if you don’t know or care much about the series, Nier: Automata will absolutely change your mind, so give it a shot if you’re at all interested in what Square is cooking up next. Nier Replicant will be released on April 24, 2021.

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An Open Taisho Secret: The Popularity of “Kimetsu no Yaiba” Janine de Villa (Wakayama)

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I can’t speak for other Assistant Language Teachers, but one of my favorite seasons to go all out in a lesson is Halloween. Every year, I try to figure out what’s popular among my students and base my Halloween costume on that. This year was a no-brainer. I decided to go as Kochō Shinobu, a character from the hit show Kimetsu no Yaiba (Demon Slayer) and, needless to say, the kids (and even the adults!) went crazy for it.

In this article, armed with my humble observations, knowledge of the first season, and my love for all things shōnen, I want to tackle what makes Kimetsu no Yaiba so special.

But first, let me clear some things up: Shōnen (少年) is a Japanese word used to describe young boys under 15 years of age.

As a manga term, it encompasses a whole genre of anime and manga targeted towards that demo-graphic. The majority of works in this genre are action-based adventures, typically undertaken by a male protagonist and his cohort, in a fictional setting. Though some titles, especially sports-centric ones, ground themselves more on reality, a common feature in every shōnen work is climactic battle sequences.

Kimetsu no Yaiba fits this description well.

Serialized in the popular Shōnen Jump, a weekly manga anthology magazine, Kimetsu no Yaiba tells the story of Kamado Tanjirō, the eldest son of a coal-mining family. Tanjirō’s world is teeming with demons, who eventually attack his family while he is away for work.

Tanjirō goes home to find his little sister, Nezuko, the only one with her life spared, but at the cost of having been turned into a demon. From here, Tanjirō joins the Demon Slayer Corps in the hopes of finding a way to bring his sister back to normal.

So, how did Kimetsu no Yaiba become so popular?

The Unique Sibling Dynamic

One of the reasons I gravitated towards the shōnen genre at such a young age was how straight-to-the-point its premise is.

Dragonball is about a boy set out to collect magical wish-granting dragon balls, One Piece is about a boy in a journey to discover the ultimate treasure called One Piece; and Kimetsu no Yaiba is about a young boy who slays demons. What makes Kimetsu no Yaiba stand out among the rest, however, is the relationship between Tanjirō, and his little sister, Nezuko.

The classic shōnen protagonist is viewed as the courageous underdog by society. He is usually accompanied by a group of equally formidable friends that he would take a bullet for. However, whenever the show calls for a major battle scene, the main character faces the enemy alone. Tanjirō, however, is always

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FEBRUARY REVIEWS

& RECOMMEN

DATIONS

Recommended Album:

Discovery by fox capture plan Ryon Morrin (Hokkaido) Released: November 4th, 2020 Jazz/Progressive ww Despite their continuous evolution, fox capture plan’s unique blend of jazz and progressive rock remains instantly recognizable. After contributing to soundtracks for TV dramas, anime, and films and winning numerous Jazz Japan Awards early in their careers, the criticallyacclaimed trio are now back with their 8th fulllength album, Discovery.

On Discovery, pianist Ryo Kishimoto, bassist Hidehiro Kawai, and drummer Tsukasa Inoue have masterfully melded genres from across the spectrum into a stunning collection of songs. Punchy rock n’ roll speed, stylish jazzy progressions, and laid back hip hop beats are all present on this record. These three are technical musicians of the highest caliber, and it’s clear each song was written and performed with laser focus. Remarkably, fcp’s lack of a vocalist is almost unnoticeable. Kishimoto fills the role with countless memorable melodies and, although purely instrumental, the band’s music is highly accessible.

Jazz remains the core of their work, but inspiration from techno can be heard in the robotic synths on tracks like the energetic yet melancholy “PRDR.” Inoue’s danceable beat pushes the

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techno theme further, blurring the lines between a jazz club and a rave. “Sprinter” is aptly named, coursing with urgent speed and triumphant, adventurous piano runs. Its abrupt transitions between bright and sparkly chords and darker somber ones carry you on a journey. Rapid-fire, bubbly synths float in the background, reminiscent of a game about a well-known blue hedgehog.

Discovery strives to cover a lot of ground stylistically and is mostly successful.

Recommended Podcast:

Made in Japan—Conversations with Meljo Catalan

However, a few songs, namely “夜間航路” (Night Route), feel oddly out of place and disconnected from the rest of the album. The funky rhythm sounds jarringly casual, and constant handclaps make for . a cheesy, low-budget feel. Thankfully, the album’s overall atmosphere is left intact despite this misstep.

From start to finish, fox capture plan’s latest release is a sonically beautiful record. Discovery is evidence that an entirely instrumental album can reach far beyond the label of “musician’s music.” These songs don’t need lyrics to be memorable or communicate deeper meaning. Emotive melodies and soulful solos speak for themselves.

Stream Discovery now on Spotify, Apple Music, and YouTube Music.

Ryon Morrin is a second-year Assistant Language Teacher from Boise, ID living in Shintotsukawa, Hokkaido, a small farming town known for its highquality rice and beautiful scenic views.

He’s a writer, a traveler, and a lover of live music.

Alice Ridley (Gunma) Made in Japan—Conversations with Meljo Catalan is a society and culture podcast hosted by Filipino-American Meljo Catalan. The podcast’s tagline is “This is not your run-of-the-mill ‘Cool Japan’ podcast,” and after thirty-six epsoides to date, this still rings true. The podcast consists of conversations between Meljo and various guests who hail from all walks of life, from Japanese-local hip hop fanatics to long-term international resident beer brewers. Although the host himself is a corporate English teacher, most of his guests are long-term residents, older and more stabley-settled in Japan than your average fresh-faced JET participant. They discuss making it in Japan, and their experiences getting where they are today. The podcast features a heavy dose of Meljo chuckling between sentences, which is quite endearing and puts the listener at ease. Overall the tone of the podcast is similar to a conversation between friends and steers clear from common stereotypes of living in Japan. Meljo’s previous students also regularly appear as guests, making for nostalgic moments between them.

The podcast’s warm atmosphere makes it a great way to get your socialisation fix in these trying times.

Made in Japan makes a point to seek out non-white voices and experiences, making it a breath of fresh air from the comparatively privileged “white male foreigner in Japan” narrative. Meljo discusses actively seeking POC guests in episode thirty-five with the host of Tokyo Speaks, and it was really great to hear Meljos’ perspective on it.

At the time of writing, Made in Japan has just wrapped up a five-part series of interviews with other Japan-based podcastors. It’ll be back to its regular schedule moving into the new year, featuring online-based interviews due to Japan's COVID-19 restrictions. You can find Made in Japan here, and it is available wherever you get your pods. The best way to get in touch with Meljo is through his instagram on @madeinjapanpodcast.

Alice Ridley is the Head Editor of CONNECT. She likes podcasts, mountains, and quiet art galleries. Find her current favourite podcasts here.

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Shop Local with Kanaho Morisue Kanaho Morisue (Okayama)

This month’s issue marks the start of our new column, affectionately named Shop Local with…, which will see us chat with the many talented designers and makers in Japan’s fashion and beauty industries.

We’re kicking off with Kanaho Morisue, a multitalented blogger and artist, whose style personifies a sense of joy and playfulness. Her bold artworks, upcycled garments, and jewellery pieces are documented and sold on Instagram.

She spoke to us about the inspirations that fuel her bold artworks and distinctive fashion sense.

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My motto in life is not to be particular about things. To be fun and make things that do not hurt others; peaceful pieces.

It hurts my head when I try to put into words how I feel about art and fashion.

I don't know much about them.

I am often inspired by the various things I see in my daily life, the colors and shapes of nature.

I have a lot of favorite artists. I've always liked Pablo Picasso since I was a kid. I also like Jean-Michel Basquiat, Friedensreich Hundertwasser, James Ensor and Yasuo Kuniyoshi. The inspiration I get from these artists is huge.

As for clothes, I mainly choose clothes that I fall in love with at first sight at second-hand clothing stores and so I wear what I like. Most of them are clothes that you don't know who made them, but they are also inspired by designers.

Art is like a cloud that has no fixed shape and floats around inside me.

Kanaho Morisue is often found painting while helping her father with his work. With the remainder of her time, she likes to make accessories and take pictures. Kanaho can be found through her website and Instagram @kanaho_show 33 Graphics from freepik.com

er?

WHAT DOES IT TAKE TO BE A

Patrick Smith (Tōkyō) interviewed by Rachel Fagundes (Okayama) Hello there! Please tell us about your TikTok channel and how you got started out.

I began TikTok in October of 2019 after a friend convinced me to try it out. I enjoy dancing and would often make fun silly dances for my students at school, and my friend was positive that I could find success on TikTok if I danced for an audience there as well. After my first few uploads I quickly shifted direction to more skitbased videos, pointing out funny things that I’ve experienced as a black person in Japan or interesting things/places in the country.

How have different videos you’ve made reached different audiences?

In the beginning, my videos reached audiences mostly in the Middle East and were not seen at all by Japanese people (which I had expected since I live in Japan) or by users in the U.S. (which I was hoping for since my humor was more of a U.S. style and my videos were all in English).

Then a few notable videos, like one where I talked about about being constantly stared at in Japan, a funny skit about going to a Japanese public bath, and a tour of an actual public bath (my most viral video to date) saw large numbers in terms of views, likes, and follows and exposed many users from all over the world to my account.

The video about being stared at was the first to go semi-viral. It drew the attention of many foreigners living in Japan who had the same experience and voiced their mutual frustration.

The comedy skit about Japanese public baths drew a lot of attention from Japanese users of TikTok, as they found an American perspective 34

of such a basic component of Japanese life fascinating. The onsen video tour I filmed drew immense numbers of international followers (most notably, American), curious about Japanese culture. I think the strange (to Americans) concept of Japanese public baths, along with the brief explanation I recorded over the video, helped to make the video go viral. As of now, the vast majority of my followers are from the U.S.

Why do you think there is such a large audience interested in content about Japan and what makes your channel stand out?

I think I have such a large audience due to a number of reasons. I think there is a deep interest in Japanese culture for many young people in the U.S. due to things like anime and video games. I also think the fact that I’m a black man teaching English to kindergarteners is also such an unique thing for people to see. They really enjoy my teaching videos. And lastly, I think that because I keep my content very clean and family-friendly it has a very broad appeal to people who come across it. I often get comments that whole families like to

watch my videos.

Tell us about your experience with your account getting suppressed.

In July, TikTok decided to suppress my account. Abnormally low views, likes, comments, etc. for every video I would post. A number of users on the app experienced this around that same time as well for unknown reasons. To this day, we have yet to figure out why and how this happens. The suppression greatly hindered account growth for me as it lasted for about three months. Although it was very discouraging, it led to me trying out a vast amount of styles and trends for TikTok. I tried to find anything that would “do well” in TikTok’s mysterious algorithm. I grew as a creator during those three months, and eventually my account was restored to its normal state. To this day, though, I still don’t know why the suppression happened or what made

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Photo: Peter Sjo on Unsplash.com

vouge’s fashion night out in tokyo 2019 ...Could have been my Night-In T. Harris (Saitama) Saturday, September 14 was VOGUE’s 20th Annual Fashion Night Out in Tokyo, held around the Omotesando/Aoyama area. For those who don’t know, VOGUE is a high-fashion magazine that has been around since the late 1800s and is distributed in multiple countries. The magazine is very respected and the fashions it showcases is usually the hottest buzz in the industry. Fashion Night Out (FNO) is VOGUE partnering with different brands to have one night where everyone can enjoy shopping and mingling. This year’s theme is sustainability and environmental responsibility. The event took place in Omotesando Hills, a large mall in Shibuya,Tokyo.

I love paging through VOGUE to get a feel for current trends or what is changing in the fashion industry, so when I read about this event, I had to go. Omotesando is a luxe shopping district in Tokyo, and with VOGUE in town interesting things were sure to be happening. . . .

Or so I thought.

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I do not want to say that the event was lackluster or poorly done, but I think I had different expectations.

In fact, my expectations may have been a little too lofty, and unaware of the actual purpose of the event.

I was expecting to see new, interesting, or forwardthinking trends in fashion, but instead walked away with the feeling that FNO was half-heartedly meant to entice people to buy something. Overall, the event, in my humble opinion, lacked sustenance. There were highlights, such as the talk with the VOGUE Japan’s Editor-in-Chief, Mitsuko Watanabe, but overall I left a little disappointed. Here is a rundown of my experience.

FNO is not a showcase event— don’t expect to see new trends.

FNO is not an event that has fashion designers or brands showcasing new collections. I came in expecting there to be a lot of focus on sustainable practices in fashion and new clothes with that in mind.

Instead, there was some discussion from panelists, but

not much. There were also T-shirts sold with different images relating to recycling or being environmentally friendly.

Instead, it is more of a brand recognition and building event. Meaning, there were a lot of people distributing ads for different stores, and clerks trying to get you to follow their social media or use their hashtag for a small prize. Prizes ranged from specialty boba teas, candy, or small bags. Some stores did offer new releases that matched the sustainability theme, such as Stella McCartney’s sustainable Hunter boots. The main part of FNO were the interactions with different Japanese celebrities, the VOGUE Japan’s Chief-ineditor, and a performance by Sekai no Owari. The rest of the event was meant to be spent exploring the shops. Which wouldn’t have been a bad thing, but as mentioned, besides maybe ten to fifteen shops, there were not many special events, special edition or new releases being sold, or giveaways occurring.

The crowd was not much different than usual.

If you are the type to love participating in art events to just people watch, such as me, then FNO may have tickled your itch. In general, Shibuya is a very fashionable area in Tokyo, and Omotesando is a luxury street lined with shops like Gucci, Louis Vuitton, and Valentino to name a few. There is no lack of fashionable people to appreciate on any day of the week. Compared to the average crowd found out and about in Omotesando, FNO did not attract a particularly different crowd to come out. So, if you are big on people watching, you may be better off picking a quiet weekday and enjoying the crowds.

The purpose was confusing.

As I wandered throughout Shibuya and the different roads around Omotesando I became curious as to why VOGUE saw this event as something that had to be done. Through my eyes this was not an event done for the love of fashion or art, but more a chance

for brands to increase their social media followers, build up their recognition, and hopefully sell some items. But, as I walked around, I noticed besides the ten to fifth teen stores actively luring in people with small trinkets, for the vast majority of stores, they were empty or almost empty, and it was business as usual for them. The crowd swelled during the build up to the Sekai Owari performance, and then dispersed right after.

For many of these stores, FNO was not helping them attract more attention or sell clothing. In fact, the lack of results (combined with VOGUE’s poor planning) led to FNO’s discontinuation in New York in 2013 and systematic shut down in the US. People came to just look around and have fun, not to buy anything.

If anything, I think this event was more for VOGUE’s sake as a way to better establish its own brand voice in Asia. But I wonder how mutually beneficial it is for the small businesses that feel pressured to participate, tolerate the crowds and see no return on investment.

Do I regret venturing out to Tokyo for FNO? No, it gave me a new perspective on the fashion industry and gave me a lot to think about concerning the business aspect of it all. Plus, Shibuya on a Saturday? There are worse places to be. I think if I am to give advice to anyone interested in this event, it would be to stifle your expectations, have a set list of brands you know are participating that are doing something worthwhile, take it easy, and enjoy yourself.

VOGUE’s Fashion Night Out will also be held in Kobe on October 19th, Nagoya on October 26th, and Osaka on November 16th-17th. If you attend one of these events please send in your opinion to the event to [[CONNECT]]!

T.Harris is a second year ALT in Saitama. In her free time, she likes to visit museums, watch anime, and browse through fashion magazines.

Photos: T. Harris

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Japanese makeup style is characterized by how soft, feminine, and natural it is.

Of course they can vary, from high fashion to underground styles — there is so much inspiration! — but this article focuses more on the aspect of makeup in Japan that uses more neutrals, a soft blushing red, instead of a fiery one, more gold-pinks less neon-pink, and soft highlights instead of bold contours. Here is a list of tips to get you started to figuring out your own take on Japanese makeup.

Photo: Ian Dooley on Unsplash.com

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BROWNS OR GREYS OVER BLACKS. When you closely examine eye looks, very rarely do you see black being used to line an eye or deepen eye shadow. Instead, various shades of brown are used to give dimension to the eye. This tip is especially useful with hooded or smaller eyes because black can overpower these eye types and take away from the overall look.

Modern day eyeliner was originally intended to help with the appearance having fuller lashes by filling in gaps at the lash root. Keeping your eyeliner closer to your lashes, especially a brown one, your lashes look thicker, and become the focal point of your look instead of the eyeliner (though everyone can appreciate a razor-sharp cat eye!).

Finding the right brown for your skin tone is easy; look at your skin tone and pick an eyeliner 1-2 shades darker than you. For people with deeper, richer tones, I recommend using either the almost black browns or dark dusty blacks/ grays. The dusty grays give the same effect as brown, and really makes your eyes pop. Be careful to pick a dark dusty gray and not a silver that won’t blend well.

BLEND, BLEND, BLEND, AND BLEND SOME MORE. To achieve soft feminine looks, you want the colors in your makeup to be seen, but you don’t want them to be overtly obvious. This means it is important to blend everything so that you have soft edges between colors, and your foundation melts into your skin and is not just plopped on top. Here are different blending tips depending on skin type and where you are blending: EYES—a good eye brush is important. For your eyeshadow, you want a brush that is densely packed, so that it can pick up color well While blending, apply a nice, even layer. You want to avoid brushes that need a lot of pressure to give off product. If you have oily eyelids, a light skintoned eye powder or cream that is lightly applied to your eyelid will help keep your eye makeup on longer.

FOUNDATION AND CONCEALER—no matter what you prefer, brushes, sponges or—gasp— your fingers, technique is important. Some of my favorite makeup artists espouse the art of patting in your skin base and not buffing it in.

Patting it in and blending out is gentler on the skin compared to the buffing motion you would usually use, and patting to blend forces you to take more time to blend well. Patting works really well for drier skin types because with more abrasive blending methods, it can make dry skin appear drier.

LIPS—to achieve a soft delicate color, apply your lip product in layers. Lip brushes seem totally useless at first glance, but not only are they more hygienic than directly putting product on your lip, they allow you more control in application, so you can have a fierce blue-red lipstick and using a brush, apply it so subtly it looks like a tint. Lip bushes make mastering certain techniques easier too, like gradients or feathering lip colors.

DO NOT GO OUT OF YOUR WAY. In Japan, eyeshadows, blushes, and lip products colors can be so dim. But, if you are going for that Japanese-esque soft makeup look, you have to use unpigmented colors, right? Wrong. You can keep your Western makeup products; you just have to apply in layers and use the right tools.

I am a slight cynic this way; I believe a lot of makeup/skincare products are just hype. You do not need to go out looking for special products to achieve a certain look. Use what you have, and invest your time in technique and reusable tools instead. One decent lip product can double as a blush or eyeshadow, if you just focus on how you apply it. In fact, one of my favorite go-to monochromatic looks is done with mid-tier red lip gloss.

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