Manga iseka (no recuerdo si era iseka o no) donde el protagonista es repudiado y mandado a otra mansion donde atemprana edad descubre registros de asesinatos de lo sirventes (si no mal recuerdo el tenia una maid elfa y por causa esos registros no confia en ella) a hijos descartados como inutiles como el y este intenta escapar con la ayuda de una angel que le enseña sobre la magia y el mundo y este despues de vivir en un bosque un tiempo va a una aldea en ruinar por monstruos para luego encontrarse con unos caballeros que lo dejan en otro pueblo para convertirse en aventurero eso seria todo que recuerdo les agradecería mucho si me ayudan a encontrar la esta historia

The Mc recarnate in a rich family but as he is weak so he was neglect by father and mother. His parents is more interesting in his little brother who is powerful and love my mom. But as the Mc is a Isekai so he knows a lot, so he decided to leave this family and have journey of this world. He found a bandit trafficking lama (snake girl) and after he saves that girl lama, she decided to be with him.
That was my last episode which i watch last 3 years ago i think. So can anyone help me the title?

Hi folks, i have been trying to find out the manga i read quite a few years ago, which i sadly didn't bookmark and lost. Its about a detective who dies and travels back in time. He was married when he died and he has a cellphone with him with which he can talk to his wife(who is actually in the present timeline) only at a certain point of the day at night around 2am or something like that.. He tries to find out why he got killed while trying not to do anything so that his past timeline gets ruined with him knowing things he should not be knowing.. I do not recollect too many other details but it would be great if someone could help me out with the manga name for the same.

Thanks in advance!

Mc betrayed by his party and dies and becomes a ghoul with a leveling system as he levels up his race changes to demon then thunder demon and eventually meets a fox who becomes a sky fox and transforms into a human form and the mc goes to dungeon to dungeon becoming a dungeon master i dont know the name anyone know? The fox girl is named kinu and the mc name is aun

Anyone read them? I am mad at author for the ending he gave to Sinbad in Magi. He used this great character to make Alibaba stand out.

Sinbad’s adventures was super cool tho. So gritty. A little too realistic that it is scary but over all so good.

Any manga recommendations? I just finished reading Honeko Akabane's Bodyguards today! The story is interesting and intriguing and I do love some romance! And I love the art style of the manga. Any manga recommendations?

Searching for stories where the main goal of MC is to revenge an arrogant evil goddess or queen. Something similar to Tsukimichi and Failure Frame. Manhua example would be “Does your mom need son in law”

I remember this manga i read after watching a youtube short about it. It was about a married couple living in an apartment and it had no ecchi, no drama, just them living day to day and it was the cutest fluffiest manga i can remember

i roughly remember it about a guy who's a compulsive liar and a girl who thinks someone is their childhood friend when called a certain nickname
i forgot the plot but im pretty sure both of them were kidnapped by a serial killer and now the girl kidnapped kids

I’ve read “tacchan who will you take?” And “Kimi Dake ga Hontou”

Any manga that has the MC teaching magic to a group of student, showing them what they know as a whole is only the tip of the iceberg similar as glenn radars shows the characteristics of magic and modifying them to get a different method of output entirely

Hello, World!

First ever post in Reddit.

I read Ohba and Obata’s Bakuman (a manga about two manga artists) and, while the manga might have its flaws and you might like it or not, I thought it had some really good pieces of advice that could be helpful to aspiring manga artists, so I figured out it’d be nice to put together a list and share it. The idea occurred to me about halfway through the manga, that’s why the chapter division starts on chapter 88. Everything I remembered from previous chapters has been included in the first ‘Previous chapters’ section, but do bear in mind that these points are what I could remember, so I’m sure I missed a good few of them. Feel free to include other pieces of advice that you think are missing and might be beneficial for aspiring mangakas. Without further ado, here’s the list:

Previous chapters:

• Make the main character go after something. Give them a goal.
• Create a strong antagonist (enemy).
• Give your characters a distinctive feature.
• Match the drawing style to the story.
• Humour! Gags are an option, but better humour is that which is created even when the characters are acting totally serious (think of the Otter crashing a van against a TV station or Hattori and Iwase having their awkward conversation while Takagi and Mashiro spy on them).
• Make your story unpredictable - aka play with readers' expectations.

Chapter 88

• VISUAL INTERPRETATION = Use of perspective and placement of sound effects.
• Make your characters emotive and dynamic, draw them with refined lines and make them easy to understand. To do this, you must go deep into your characters when you create and draw them.
• Use your imagination to extrapolate the world out of the original script.
• Cut the extraneous junk. Add things if necessary.
• Incorporate pauses (Panels with no dialogue / Panels where the camera is far away / Panels with just background / Silent close-ups) - These panels don’t move the story along, but they give the readers time to take a pause and let their imaginations flourish.
• Make sure your pages are not cramped and hard to read.
• Make it easier to connect with your main character emotionally.
• Use your imagination to give life to a storyboard - get the story in writing only (meaning with no storyboard) if that helps you exercise your imagination. This approach may give your imagination more freedom to float free and do its own thing (though it must be said that the authors always show us one page of Ohba’s (the writer) storyboard and then Obata’s (the artist) version of the same storyboard at the end of each chapter. So either approach is valid as long as it works for you).

Chapter 94

• If you rely too heavily on screen tones and use them superfluously, your artwork might appear flat.
• Also, once again, artwork and story must match (a good example is Ohba’s and Obata’s work – compare Death Note to Bakuman. The story in Death Note is way more serious and darker than it is in Bakuman, hence the style in Bakuman is much brighter, while in Death Note the whole atmosphere is darker and more ominous.)
• BUT, having said the above, if things (both story and artwork) get too realistic, even if they match perfectly, then it can’t be called manga anymore. In Nizuma’s words: “It needs a little more flair here and there… Some pop. Some style.”

Chapter 95

• Sometimes, you don’t need dialogue at all – you can tell the story with art alone. But in the end, a lot of dialogue or very little dialogue doesn’t matter so long as the story is interesting.

Chapter 96

• In longer, multi-chapter arcs, each chapter should build to the grand finale. Having the ending clear in your mind before you start the arc might help build proper suspense throughout the chapters leading to its end.

Chapter 100

• When Takagi is giving advice to Shiratori, he says: “Start out by making the main character’s feelings clear and understandable. Why did he stop trusting people? What goals are he and Peace striving to achieve?” He also recommends incorporating antagonists. (Personally, I would nuance his first advice a little. While you want the main character’s feelings to be clear and understandable, you don’t want to be too on-the-nose. It’s a fine balance. Also, I would say the younger the audience, the more explicit you need to be. Perhaps for Seinen you can rely on the reader reaching more conclusions by themselves. Still, they would need the info to draw these conclusions, and clarity is always desirable. Again, it’s a fine balance.)
• Just a quick note. In this chapter, Takagi and Mashiro mention that they have been working on manga (and I should add ‘practically full-time, considering how little work they did in middle school/high school/college’) for six years. SIX YEARS! I’m saying this from experience: learning things like these takes a very long time, and it can be a frustrating process at times. That’s why it’s so important to be COMMITTED! Just like Takagi and Mashiro!

Chapter 104

• In this chapter, a secondary character (Moriya, a stuck-up design school dropout) tries to place his work in two magazines: Jump and Shonen Three. Both times he is told that he is trying to push his ideas too much upon the reader, that he needs to make it a bit brighter and add more flair. Some possible conclusions from this are: 1) know your audience, and 2) don’t try to push your ideas too much upon the reader. Remember that it is all about the story and the characters. That’s what usually most readers will care about.
• Moriya does have one thing going for himself though: he has a unique style! And this is the reason why someone for Shonen Three decides to be his editor and review his work in the future. He is basically giving Moriya a chance to improve. Please note: developing your own unique style might take years. It’s the same for writers who have to develop their own voice. Read a lot and varied; practice a lot, learning from everything you see, and you will end up developing your own style.

Chapter 109

• The narrative arc should be strong enough to lead into a solid climax (maybe not so much in slice-of-life manga, in my opinion, but still good to consider).

Chapter 110

• You’ll need to be familiar with the manga and the characters for this one. While not strictly a piece of explicit advice, something can be inferred from the “Character Popularity” survey that Weekly Shonen Jump ran in the #39 issue of 2010. Here is the top 10:

1.       Eiji Nizuma (1,761 votes)

2.       Moritaka Mashiro (1,249 votes) (MAIN CHARACTER)

3.       Kazuya Hiramaru (1,012 votes)

4.       Miho Azuki (856 votes) (LOVE INTEREST)

5.       Akito Takagi (827 votes) (MAIN CHARACTER)

6.       Otter #11 (803 votes) (Main Character in Hiramaru’s manga)

7.       Shinta Fukuda (635 votes)

8.       Ko Aoki (627 votes)

9.       Koji Yoshida (409 votes)

10.   Aiko Iwase (351 votes)

Draw your own conclusions.

Chapter 113

• You have to work hard, yes. But you can’t just do manga all the time. It will narrow your perspective.

Chapter 116

• In manga, you might not need a scientific explanation for everything that happens, but even in fantasy, there’s got to be some order of things if you want to make it convincing.

Chapter 126

• Too many captains sink the ship – Things lose unity and get out of hand when there are too many people giving orders on what the work should be / look like (‘Unity’ is an Aristotelean concept worth exploring).

Chapter 149

• Foreshadowing is important. And if you revise your own past material, you might even find things you didn’t consider important back then but could be used as foreshadowing now.

Chapter 152

• This is how Mashiro defines the artwork he will use for his “cult-hit cold and heartless mainstream battle manga”:

1. simple artwork
2. Movements that are easy to follow
3. A sense of speed
4. Have two-page spreads for climactic scenes
5. Divide the panels to create a sense of high and low points

Chapter 157

• The importance of the enemy character in battle manga - “It’s often said that the enemy character needs to be equally or more attractive and stronger than the main character or else it won’t do.” “If the readers don’t like it, you change the enemy character. That is the basic rule of a battle manga.”
• Nizuma sensei is a good example of an enemy character. He is an attractive character (though this is a subjective opinion, of course, but the poll on character popularity seems to indicate many people would agree) and up until now (and this is chapter 157 out of 176, so we are close to the end) he has been “stronger” (as in, getting better rank) than the Ashirogi duo.

Chapter 158

• “In most battle manga, a new enemy appears once the first is defeated. And an even stronger one after that… And so on. That is one standard pattern.” - which ties back to my own advice in the second point in this list (see above)

I just want to include a final note, something that I believe is essential to be a good manga artist: there is no doubt that the best manga artist in Bakuman for most of the series is Nizuma sensei. I felt there was something that set him apart from the rest of the characters. Yes, behind his jester mask he is very smart. Yes, he picks up things very quickly, has excellent judgement, and many would say he is a genius. But what I believe really makes a difference is that he, more than any other character, has fun creating and drawing manga. He absolutely loves it, and he enjoys every step of the process. This doesn't mean that it can't be hard at times, but if you’ll allow me, my own piece of advice would be to remember to have fun. Sometimes rejection is hard to take, and sometimes circumstances, life and the bloody gods themselves will do their utmost to bring you down, but as long as you keep having fun, as long as you keep loving manga, and as long as you keep finding joy in what you do, then you are on the right track, and eventually you will get there. And when you do, you’ll look back on all the hardship and you’ll think, ‘It was worth it.’

Best of luck,

A.S.

Anime where mc house burns down so he buys a dark elf slave. He also uses a spear as a weapon and his father was famous but he doesn’t know

I was wondering if Ansatsu Skill de Isekai Saikyou: Renkinjutsu to Ansatsujutsu will ever be translated to engilsh?

Im looking for a manga set in a fantasy world (isekai-like). The story is about a girl who gets taken in by a group of people(a noble’s house I believe) and is raised by them. I don’t quite remember the specifics of the story but at one point the family that took her in is betrayed by their kingdom(or whatever organization they belonged to) and ultimately killed. She alone survives and is faced with moving on from what happened. I do know she meets new people down the line and I think they become her new family or something along those lines. Just to re iterate this is not an isekai. Thanks in advance.

In sister introduction chapter mc brings his friends from school they thought that his sister has brother complex but she got close to mc love interest and told mc to stop coming near her