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I wouldn't be shocked if Hoi Hoi went out of the area, considering it shrinked.
Man, what's with all the panda hate?
I doubt they would write-out Hoi Hoi without saying anything. The Butterdog write-off was accidental and the team apparantly apologized for not explain why that horny hound disappeared (They sort of cleaned it up in the TV series, though). While I honestly think that it would be stupid to hope that anyone in Gantz will survive for the rest of the series, I don't think they'll do to Hoi Hoi what they did to Butterdog. They'll at least mention that the panda's not there or something.
Also I just want to rub it into people's faces if Hoi Hoi survives. Mayhaps a new Hoi Hoi thread when the next chapter comes around.......
it woulda been hilarious if they blasted most of nuri to bits then the only part left was a toe, then hoi-hoi came and ate it. looking back on it now the tokyo team barely suffered any casualities.
indeed, nura never would have anticipated being eaten by a panda.
This one actually relates to the next issue. Is Izumi's BFG in the armory room?
That room has what looks like 4 of the swords on the floor, and the two bikes in it. We know that Izumi opened it to get out a sword before his first mission, and that Nishi and Kei each got a sword out of it.
That room seems to be where all of the neat stuff is kept. There were evidently 5 of the swords in there before Izumi picked one up. I still think it's likely that Izumi's new weapon will be lying in there if anybody ever bothers to open it again. Knowing Gantz's sense of humor, it probably has a pink bow around it and a cute little note on it. Kei's sword probably went back into the room when he quit the team, so there should be three swords in there now. Why don't any of the current team bother with picking them up? For that matter, why don't any of them use the bikes? I can understand a stealther like Nishi or a pure warrior like Kaze not wanting to use them, but what about Inaba or Reika?
I think there are some funky rules about the weapons and stuff. The Y-gun that Kishimoto picked up off the floor at the beginning of the Tanaka mission then gave to Kei was right back at the spot in the room where she first picked it up when the mission ended. Katou evidently picked it up, because he had it when the 1000 arms mission began. He still had it after he was rezzed. At the end of the Oni mission, Izumi transferred back without his sword. It looks like the swords and Y-gun sometimes go back to where they were picked up in the room instead of transferring back with the players.
I think that all of the reward stuff will be stored in the room that Izumi opened. Some of it will be user-specific, but some of it will be stuff that any player can use, like the BFG. We know for sure that Nishi and Katou could use the ones that the Osakans dropped.
Here's a theory for everybody to put to the test: if a Gantz member dies during a mission, what he was using or wearing is lost till he comes back, but the stuff that he didn't take with him will remain in the room until somebody else picks it up and starts using it. The chain of possession starts when the mission does; it goes back to the room if they live, or gets stored in memory with them if they die.
By the way, how do we know for sure that the suits can't be used by anybody else? The only way we have of knowing is that Nishi told Kei that he couldn't use anybody else's suit, and he isn't exactly known for being the most honest person in the world.
The suit's damaged, but it isn't dead yet. Notice the fluid still leaking out:Quote:
We've discussed the finer points of the timing quite a bit. It seems that there are two ways that it works: a few seconds before the first injury or a few seconds before the suit dies. If they aren't wearing a suit, they always transfer back in a few seconds before the first injury. If they are wearing a suit, they transfer back a few seconds before the suit died. In this case, the suit hadn't died before the transfer began.
Last edited by georgemarvin; August 23, 2008 at 09:36 PM. Reason: Automerged Doublepost
hmm maybe you only lose your memory from taking serious damage that cannot be healed right away.
like a blood nose is minor and in a day that would heal by itselfs. so maybe damage from something that life can heal like in a day or week you would not lose memory n with one that only gantz can heal u would lose ur mem. but could we move this n others to a thread in the gantz room about the lost memory topic. disussing that more than predictions at the moment >.>
spoilers should be out tomorrow right?? or when?
the vamp chick will not remember being attacked by aliens.
it would be cool if the osaka n toyko team was transported in the same room, cause it was a team mission....well gantz prob wanted it like that XD so it would be only right to see eachothers score.
about katou's y-gun, i just can't believe this finders keepers death theory. i already said this, but there wouldn't be any guns in the room. think about how many people have died with x-guns or rifles in their hands.
p.s. turns out inaba had a y-gun in his holster during part of the tae mission so they didn't go completely unnoticed during katou's absence.
There are always the same number of rifles and pistols in the ball. There are also new suits for all of the newcomers, and empty boxes for all of the veterans. I don't think the "newbie" stuff and the veteran stuff all follow the same rules.
I'm still curious about the reason why all of the swords, which may very well be a reward item, were scattered all around the arsenal room instead of neatly stacked like the weapons in the ball. There's also something funny about the way Gantz cleans the floor after the missions end.
you're saying gantz just destroys everything and restocks? that's a huge waste of resources.
there's also an outlet behind gantz, near the window, but i'm not gonna bother trying to figure out why something, which seems so out of place, would be there and not somewhere else.
I mostly think that there is another room in the Gantz room that withholds BFG's.
Look at this room, everything written "Inconnu" means that it is unknown. It is a fair representation of the room. You'll have to scroll down.
Épée = Sword
Cuisine = Kitchen
Lieu d'arrivé = Arrival point
You didn't mention that the site has interviews with Oku on it. I'm going to paste a copy of translations of each of them here; maybe somebody will know how to put them somewhere appropriate.
Special Report / Interview
Here is an interview with Hiroya Oku made by Asian-Beat. We're just content to translate.
Writing is like solving equations ~ Hiroya Oku, author of Gantz ~
Gantz, published by the weekly magazine Young Jump belonging to the Shueisha (ndt: important publishing house in Japan) is a manga very popular among young Japanese, moreover Wednesday this week in Asian Beat, as part of our months Special Manga, we have the honour to host a special guest from Fukuoka, Mr. Hiroya Oku, the author of Gantz!
No manga fan would want this râter interview with the first mangaka, past master of science fiction.
Chapter 1: Fukuoka:
-- M. Oku, you currently live in Tokyo but until high school, you lived at Hara (Sawara-ku). What kind of student were you? And where did you spend your time?
-- As a student, I was quite square and in high school I was a member of the animation club.
At Fukuoka, I recommend the Anzen Shokudo to Imajuku. I used to go for tonkotsu ramen. (ndt: made with pork)
-- Do you intentionally include elements of Fukuoka in your work?
-- Yes, when I have to draw characters who have just arrived in Tokyo, I do, in principle, speak the dialect of Hakata (ndt: as a Kaze Gantz).
Chapter 2: In addition to Wednesday:
-- In August 2008, the festival of Korean-Japanese manga will be held in Kitakyushu. What do you think that your prefecture has taken the initiative to encourage cultural exchanges between Japan and Korea through manga?
-- I see more and more Korean illustrators write in Japanese magazines and I am impressed by this dramatic increase in illustrators' talent. I think this festival is an interesting thing.
-- Much of your work is published overseas but you also read non-Japanese comics? And what do you think of the popularity of your manga overseas?
-- I really do not have time to read now, but in high school, I used to buy comics at a French import store. On my manga, I wrote first for Japanese readers but I am pleased that these mangas are also appreciated by people with another culture.
Chapter 3: Gantz
-- Whether with your prior manga, Hen, or with the current Gantz, you show the world through a single point of view. Both manga have been published overseas but they are radically different. Why did you make a manga science fiction?
-- I have always been interested in science fiction but there was a curse apparent in manga magazines since science fiction has become a hit. So I started with Hen. Once I had "imposed", I asked the editors to let me do what I wanted and I started to write science ficion.
-- Gantz is sometimes very explicit scenes and violent and have been criticized for that. What do you think?
-- I think that the criticisms are very wrong. Gantz has an aspect which affects the brutality of people. I wish that adults read it and use discretion with regard to youth and college students.
-- The story is really unpredictable with all these characters, except the hero, who died in the manga, and it looks like you surprise your readers each time. How do you write the screenplay? You already have an idea on how to close the manga?
-- I have a vague history planned for the entire manga but when it comes time to write, I am following my inspiration. I have not thought about the very last chapter, but I thought a long time about what will happen by then. The story will take a watershed by little so you can expect this event with great interest.
Chapter 4: Labor
-- Even for someone accustomed to writing chapters for a weekly magazine it seems very hard, do you have a secret that you can continue to write this pace?
-- There is no secret. In my case, the fact that seems to regulate my pace is my daily walk. I always sleep 7-8 hours.
For me, writing a manga is like solving equations.
Chapter 5: The Way to Success
-- What was a harder experience than you have known as mangaka?
-- Once Hen was finished, I started to experiment on CG (ndt: computer graphics, they are images taken by computer) and try to make it resemble a manga. Nobody at that time had done this. I invested a lot of money in this project but the result has not really wowed fans (ndt: Oku has experienced this in the manga Zero01, abandoned after 3 volumes for the reasons outlined above) and my contract was terminated. As a result, I had to reduce the strength of my team when I started Gantz. It was the most difficult period of my career.
-- What has made you happiest in your career?
-- I decided to become the fourth mangaka when I read "Vampires" by Osamu Tezuka. At that time I had always thought to send my work at a magazine and make my debut when I am in high school. And finally when I was in high school, publishers contacted me! It was like receiving a phone call from another planet, I was really very happy.
-- Many young Fukuoka dream of becoming mangaka. Send them a message please.
-- If you look carefully, manga are very deep, they are not superficial.
Experience lots of things, enjoy them and write what you want to write.
This is the second interview from the link thegenius provided above.
Special Report / Interview
What follows is an interview with Hiroya Oku by designers of software Shade (3D creation software used by Oku and his staff for the design drawings). Thanks to Kaminos to have translated. (Kaminos evidently translated it from japanese to french.)
I am listening to an artist. Master Hiroya Oku, mangaka: "The use of 3D CG opens the doors to realism"
-- This time we talk with the mangaka of the famous "GANTZ" from the Weekly Young Jump by Shueisha. Thank you for being here.
Oku: The pleasure is all mine.
-- You have the habit of using the software "Shade" for the production of GANTZ. What attracted you to this software in the first place?
Oku: I was first presented with Terai Yuki (ndt: other software to create 3D images). But Shade can create better forms in three dimensions, which I fully agreed.
-- It is said that the use of Shade can also save time, is this true?
Oku: More than save time, Shade especially helped me improve my quality of production. Before, I was still blocked due to limitations of the software, but thanks to Shade, I was able to reach a new level of expression in my images. Of course, even if I would have preferred to create 3D images more simply, it is primarily the result of my images that counts, more than my physical fatigue.
-- Really? Could you give specific examples of "realistic renders" with Shade?
Oku: Weapons or buildings for example. And fences ... You see the genre?
-- And the explosions?
Oku: Yes, it is true that in my manga there are many scenes of explosions (laughs). In fact, we must use CINEMA 4D (software 3D) to create explosions, and Shade for their rendered images. It can use and reuse explosions, keeping the same for different scenes, since in 3D it is the use of the perspective that counts, and if the proper conditions are not met, the result is not consistent.
-- I see ... You need to go crazy over a time! (laughs)
Oku: For sure. Finally, using a few plug-ins, Shade suits me perfectly. Finally I am happy. (laughs)
-- So tell me ... (laughs). I will speak to the development team. In this regard, if you have any queries about Shade, please let me know.
Oku: Lately, I am more in search of objects of daily use. For example, screens of trees, various objects, and so on. It would be very useful to add to the library software, but also have the players (ndt: Oku meant the Gantzers ... Funny he qualifies players: p) mobile phones, able to reveal convinis, LCDs ... all these small objects, this would be super. And it isn't just me who requests it, but many mangaka. Making the modeling of all these little things, it's very hard. But they are important, are they not?
-- Surely it would help a lot. I will also talk about it with the development team. Will you give some advice to the users of Shade, small tricks?
Oku: ALWAYS Draw in pencil. Pass the digital pen when the board is completed. I think the artist should always draw by himself. In my opinion, if one does not use his pencil, he could not finish his board. Using a substantive and pencil and Shade, we get the best possible.
-- I see. Shade is a tool, he will always need his pencil. I also had the opportunity to have a look and your work: unique and fascinating.
Oku: Really, Shade is a big part of the job, this software is great! (laughs)
-- Finally ... (laughs). Anyway, your scenarios are brilliant, and you are solely responsible. Thank you for giving me time, you must be very busy. But while I'm at it, one last question.
Oku: I listen to you.
-- Do you use Hanako, the character included in the packaging of Shade, in your manga? (laughs)
Oku: It is true that it is pretty ... (laughs) I think (laughs)
Really neat site. Looks like it even has a mock-up of Nishi's website. Looks like Nishi was a Gantz member for about 15 months or so before he died, if the journal entry dates came from the manga.
Last edited by georgemarvin; August 24, 2008 at 11:00 PM. Reason: Automerged Doublepost
I know! The owner is Kei-Kun, a great dude that lurks around here!
I forgot that I was working on the transaltion team for the websites, so most pages have english translations.
And that is why I say Nishi is sloooowww at gathering points!(Even though he had to fights with hordes of n00bs)