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Strange Creators of Outer World/Three Fairies Interview with Makoto Hirasaka

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Strange Creators Interview 05
漫画家 比良坂真琴インタビュー

Strange Creators Interview 05
Interview with the Mangaka Makoto Hirasaka

東方Project公式コミックの元祖として親しまれる「三月精」シリーズ。
最新作「東方三月精 〜 Visionary Fairies in Shrine.」単行本1巻発売を記念して、
漫画家の比良坂真琴氏を直撃、
漫画家になる経緯や連載への思い入れなどについて、いろいろと話をうかがった。

The "Sangetsusei" series is well known for being Touhou Project's first original manga series.
To celebrate the release of the first volume of its latest addition, "Visionary Fairies in Shrine",
we caught up with manga illustrator Makoto Hirasaka in order to discuss how he became a mangaka,
as well as his thoughts on the series.

高校卒業後……

After graduating from high school...

――

絵は子供のころから描いてたのでしょうか。

Have you been illustrating since you were a child?

Makoto Hirasaka
(M from below)

漫画ではないですが、絵を描くのは好きでした。小中学校のときは美術の授業で風景画を描いて褒められることが多くて、毎年なにがしかの賞をいただいていたんです。褒められるのが嬉しかったので、絵を描くのは好きでした。アニメや漫画を見るのはもちろん好きだったんですが、漫画絵は自分で積極的に描くほどではなくて、ほとんど授業だけでした。

I did like to draw, though it wasn't manga. In my elementary and junior high years, I was often praised in my art classes for my landscape art, and every year I'd be given some kind of award. I liked to draw because it made me happy receiving praise like that. Of course, I liked anime and manga, but not enough to draw manga in my free time, it was mostly just during classes.

――

最初に買った漫画ってなんでしたか。

What was the first manga you've ever bought?

M

本当の最初ははっきりとは覚えていないのですが、小学生の時に、お年玉をもらって「大判の、いい本を買おう」と思って手にしたのが「ロマンシア」(原作:寺田憲史、漫画:円英智/1988年 角川書店発行)でした。表紙の絵もよかったですし、1冊で完結しているところがよくて。「高い本を買った!」ってすごく思い出に残っているし、いまだに持っていますよ。

I don't exactly remember where that started, but when I was in elementary school, I received some money as a New Years gift and I thought "I'll buy a nice, large print book", so I picked up "Romancia"[1] (Written by Kenji Terada/illustrated by Yen Hidetomo, published by Kadokawa Shoten in 1988). I liked the cover art, and the fact that it was a complete volume. "I bought an expensive book!", that was a very memorable experience to me. I still have it to this day.

――

漫画家という職業を意識したのはいつくらいですか?

When did you first realize that you wanted a career as a mangaka?

M

高校卒業の時ですね。就職が決まっていたんですが、卒業間際の春休み期間に「このまま就職するんじゃなくて、せっかくだから何かやりたい」と思って。「絵を描きたいから学校に行きたいんだ」って親に伝えたら、すごく寛容な親だったので「自分で学費を出すんだったらいいよ」って言ってもらえました。それで地元で二年間学費を稼ぐためにアルバイトをしていたんです。最初の1年は八百屋に勤めて、朝6時からよる7時半くらいまで働いていました。それで1年で百万くらい溜まったんですが、ちょっと足りなそうだったので、次の年にNECの工場に勤め先を変えて、バイトだけど社員と同じ長さで働いていましたね。田舎だからアルバイト代も安いんですよね。時給800円くらいでしたが、地元ではかなり高かったと思います。

When I graduated from high school. I already had a job by then, but during the spring break before graduation, I thought to myself, "I don't want just a job, I want to do something with my life". When I told my parents that I wanted to go to a school where I could learn to draw, they were very open-minded about it. "If you want to pay for the school yourself, that's fine," that's what they said. So for two years, I worked part-time jobs in my hometown so I could earn money for tuition. For the first year, I worked at a greengrocer from 6:00 am to around 7:30 pm. I had accumulated about a million yen that year, but it didn't seem like enough, so the next year, I transferred to a factory belonging to the NEC[2], where I worked part-time but for the same amount of time as a full-on employee. I lived in a rural area, so part-time jobs didn't yield much pay. It was around 800 yen per hour, but I think that's quite a lot from a local's perspective.

――

漫画を描くようになるきっかけは?

What inspired you to start drawing manga?

M

落書き以上のものを実際に描くようになったのは上京してからでした。風景画とかは描けたんですが、いざ漫画を描こうと思ってもまったく描けなくて。漫画絵と人物画や風景画とかはまったく違いますし。結局26歳くらいまでは松屋でアルバイトをしながら同人をやっていました。20歳で上京して学校で知り合った友人に同人に誘われたんです。いっしょにやらないかって。同人誌のことも即売会のこともあまり知らなかったんです。学校は2年制でしたが、結局1年しか通いませんでした。

It wasn't until I had moved to Tokyo that I actually started drawing more than simple doodles. I could draw landscapes, sure, but when I tried to draw manga, I just couldn't get it down. Drawing manga was completely different from drawing portraits or landscapes. I ended up working part-time at Matsuya Co. until I was about 26, while also doing some doujin work on the side. When I moved to Tokyo at the age of 20, a friend I had met at school asked if I was willing to work together in a doujin group. The school was a two-year thing, but I ended up attending for only one year.

――

いろいろ教えてくれる人がいたんですね。

That person taught you a lot of things, yes?

M

その友達はいまだに「三月精」の手伝いをずっと続けてくれていて、実際あの漫画は二人で描いているんです。最初は同じサークルで活動をしていましたが、途中からはそれぞれ個人サークルに分かれて、今でもお互い同人をやっています。

My friend continues to help me with the "Sangetsusei" series to this day. We drew that manga together, in fact. We started out working in the same circle, but we split into our own individual circles midway, though we still continue doing doujin work with one another.

――

最初に描いた同人誌の題材は?

What was the first thing you ever drew for a doujinshi?

M

私はマイナージャンルですごく好きなんですが、友達に進められてはまったのが「アイドルプロジェクト」でした。コミケ参加サークルのなかでも1〜2サークルくらいしか描いてないマイナーさで、その同人を友人とずっと続けていました。イベントで本を出しても2桁も買ってもらえないんですが、売れたときはすごく嬉しくて。お客さんも同じ人が来るので、顔も覚えてました。ただ、友人のほうが絵がうまかったので、多くの方はそっち目当てで来ていたと思います。というのも、いざ個人サークルになってからはまったく同人誌が売れませんでしたから。一冊も売れなくて、家に帰って泣きながら捨てたこともあります。次に描いたのは「ぱすてるチャイム」の同人誌ですね。Karenさんの絵が好きで。その次が「痕」で、そのあとはずっとKeyの同人誌です。シナリオで好きになって。ギャルゲーが好きだったので、イラストレーターになりたかったんです。麻枝さんのシナリオみたいな素敵な話にイラストが描けたらいいなって。漫画家になるつもりはまったくなかったんです。あんな大変そうなものは描きたくないとすら思っていました。

I'm into obscure genres, though I did get hooked on the "Idol Project" series when my friend recommended it to me. My interests were so obscure, in fact, that I was only drawn in by one or two circles among the ones participating in Comiket, and I continued working on that doujin with my friends for a long time. The volumes I submitted to events rarely reached the double digits in terms of sales, but when they did sell, it made me very happy. My customers were always the same few people, so I remembered their faces. However, my friend was a better artist than I was, so I think that's what drew in a lot of people. Since we had become a personal circle, we couldn't sell doujinshi at all. There were times where we couldn't sell a single book, so I'd run home and throw them away in tears. The next thing I drew was a doujinshi of "Pastel Chime", since I was fond of Karen's artwork in that game. My next doujinshi was for "Kizuato". And after that, it was just doujinshi for Key's productions, since I was fond of the stories they make. I liked gal games[3], so therefore, I wanted to be an illustrator. I thought it'd be great if I could illustrate a wonderful story akin to Mr. Maeda's scripts. I had no intentions on becoming a mangaka, I didn't even want to draw anything that seemed too complicated.

――

(笑)。

(Haha).

M

イベントで同人誌を描いているうちに声をかけてもらったらな、なんて思っていたんですが当然そんなこともなく(笑)。まあ泣きながら捨てるようなレベルのものでしたし。当時はコピー誌を出す事も多かったので、ちょっとした漫画とイラストを合わせた落書き本みたいなものも多かったですね。

I had hoped that I'd be approached while drawing doujinshi at an event, but of course that never happened (haha). Well, it was more the kind of work I'd scrap in tears. At the time, I'd often publish staple-bound books, so many of my publications were just filled with scribbles with the occasional manga or illustration.

三妖精は娘のような存在

The Three Fairies are Like Daughters

――

東方との出会いは?

How'd you encounter Touhou?

M

「妖々夢」が出るコミケの前のイベントだと思うのですが、隣のサークルさんと見本誌を交換でいただいたのが東方の同人誌だったんです。読んだらキャラのこととかがいろいろ気になったので、調べてゲームを取り寄せました。それまでコンシューマーゲームはあまり遊んでなくて、スーファミが出る頃に自分はようやくファミコンを手に入れて「妖怪道中記」を遊んでいるくらいでした。漫画の「うしおととら」も好きだったので、なんとなく妖怪になじみはあったんですね。当然シューティングなんてほぼやったことがなくて、ノーマルでも全然クリアできませんでした。当初「妖々夢」4面のプリズムリバーで行き詰ってたんですが、あるとき入浴中に「幽霊楽団」が頭に響いてきて、ああ曲がすごくいいなって。音楽の良さのおかげで飽きずに遊べて、どんどん上達していったんです。「妖々夢」はシステム的に初心者に優しいですし、ストーリーもすごく感動するものがあるので、こんなに素晴らしい作品があるのか! とマイナー好きの心に火が付いた感じでした。Key系で活動していたころはほかの方が描く同人誌を買うことはほぼなかったんですが、黎明期の東方同人を描く方はすごくバラエティ豊かなメンツで、ほとんど買っていました。おかげで東方の同人誌はずっと買い続けていて、今も買っています。

I think it was at an event preceding Comiket, when Perfect Cherry Blossom was being released, and I had received a sample magazine from a neighboring circle in exchange for a Touhou doujinshi. I was curious about the characters and all that when I read it, so I did some research and ordered the game. I hadn't played many console games up to that point, and when the SNES came out, I finally got my hands on an NES and played "Yokai Dochuki". I also liked the "Ushio and Tora" manga, so I was already familiar with youkai. Of course, I'd never played a shoot-em-up game before, so I couldn't even clear the game on Normal mode. Incidentally, I had come to a standstill trying to beat the Prismrivers in Perfect Cherry Blossom's fourth stage, but then while I was taking a bath one day, I had "Phantom Ensemble" playing in my head, and I thought it was a really great song. Since the music was of such a good quality, I was able to keep playing and improving without getting bored. PCB's gameplay system is very beginner-friendly and some of the stories in it are so moving, it was unbelievable to me that such a wonderful game could exist! As a lover of obscure things, it felt like a fire had been ignited in my heart. When I was active in making Key fanworks, I almost never bought doujinshi drawn by other people, but in the early days, the people in the Touhou doujinshi scene had a very varied menagerie, and I bought most of them. I've been buying Touhou doujinshi for a very long time thanks to this event, and I still do so now.

――

「三月精」の連載の話はどういう流れから?

Where did you get the idea for the Sangetsusei series?

M

おそらく何かの同人誌を見てもらってお声がけいただいたと思うんですが、当初は「コンプエース」掲載用にオリジナルのネームを出してほしいって誘われたんですよ。その方が当時「三月精」を担当されていたHさんだったんです。東方が好きだったので、Hさんに会うたびに打ち合わせだけじゃなくていろいろな東方の話を聞いていました。その流れで「三月精」の後ろのページにあった「上海アリス通信」の挿絵を描かせてもらうことになって、本当にうれしかったです。商業誌に載ること自体も初めてですし、大好きな東方で絵を載せてもらえるわけですから。

I think I had been contacted about some kind of doujinshi, but initially, I had been asked to submit an original IP to be published in "Comp Ace". That person was "H", who was in charge of Sangetsusei at the time. I loved Touhou, so whenever I'd meet with H, it wasn't just briefing sessions, I was also able to listen to all sorts of stories about Touhou. In that vein, I was ecstatic when I'd been asked to illustrate for "Shanghai Alice News", published on Sangetsusei's rear pages. Not only was it the first time my work had been published in a commercial magazine, but it was the first time my work had been published as official content for Touhou, my favorite series.

――

今は酒のコラムになってますが、たしかに情報ページでしたね。

Nowadays, it's a column page for alcohol, but it was certainly an information page.

M

そうしているうちにいろいろあって連載を私が引き継ぐという話が出てきたのですが、オフィシャルの漫画を描くというプレッシャーがすさまじくて、とてもじゃないけど最初は描けないと思っていました。ですがZUNさんや編集さんがせっかく自分がいいと言ってくれるのだからと引き受けることにしたんです。それからは、下手なりも手を抜かないことだけは心がけています。その時点の画力で自分が納得いくまで描いているつもりです。「三月精」の原稿は、今見てもがんばっている気がします。当時のほかの原稿とは比べ物にならないですね。ZUNさんと緊張しないで話ができるようになったのもつい最近のことで、前のシリーズを描いていた時は会うたびにガチガチでした。

Something had happened meanwhile and I was asked to take over serialization, but the pressure for drawing for an official manga was so great that I felt like I couldn't do it at first. But since Mr. ZUN and the editors said it'd be a good idea, I decided to take on the mantle. Since then, I've been doing my best not to cut corners, even if that can be difficult at times. I try to keep drawing until I'm satisfied with my abilities at that point. The manuscript for Sangetsusei was still a work in progress, I think. It was incomparable to other manuscripts at the time. It was only recently that I was able to talk to Mr. ZUN without getting nervous. When I was drawing the previous entries in the series, I'd get worried stiff whenever I saw him.

――

「東方文花帖」でも1本描いてますよね。

You also drew for the standalone issue "Bohemian Archive in Japanese Red", didn't you?

M

最初に「文花帖」の話を聞いたときは、アンソロジーの依頼だと思いました。でも、東方のアンソロジーなんて出してほしくなかったんです。その時は詳しい内容を知らされずに漫画を描いてほしいとだけ言われていたので、ほかの作家さんもアンソロだと思って受けていたように思えます。そういうお手軽なものじゃなくてもっと大事にしてほしいと思っていたから、最初は依頼を断ったんですよ。でも角川のHさんと話をしていたら、どうもアンソロではないらしいということだったので、やっぱりやらせてほしいって描いたのがあの漫画なんです。だから私だけちょっと真面目というか二次創作しすぎてない話になっているんだと思います。

When I first heard about Bohemian Archive, I thought I was being commissioned for an anthology. However, I wasn't too keen on the idea of working on a Touhou anthology. At the time, I was only asked to draw a manga without being given info on the details, so I think the other artists thought it was an anthology and just accepted that. I initially turned down the request because I wanted a greater task than something as easy as that. But when I spoke with H at Kadokawa, he told me it wasn't an anthology, so I asked him to let me work on Bohemian Archive, and that's when I drew the manga. I think that's why I'm the only one who didn't take the story too seriously or did a whole lot of derivative work.

――

他に原稿で気をつけるところがあるとしたら?

What else did you keep in mind for the manuscript?

M

読みやすいように、というのは心がけています。連載開始のちょっと前に、友達がある作家さんのところにアシスタントに行っていて、その作家さんの話のまた聞きになるんですが、「漫画を描くときに、とにかく状況描写を大事にしよう。引いた絵で最初にキャラクターがどこにいるかを提示することが重要だ。アップと引きの繰り返しが大事で、読みづらい漫画はバストアップが多くてそのまま会話が進む」という話を聞いていたからだと思います。キャラクターのセリフがあったときにそのキャラだけ描いたほうが楽に決まっているんですが、「三月精」は、三妖精の誰かが驚いたときは全員がそれぞれの驚きかたをしているのを絵で見せないと、すごく手抜きに感じるんですよ。そうじゃないと三人組っていう感じが出ないですし。だから面倒くさくても、必要だと思うシーンでは三人全員を絵に入れるようにしています。

I wanted to make it easy to read. One of my friends was working as an artist's assistant a while before serialization began, and I think it was because I had learned by hearsay that the artist said, "When drawing a manga, make sure to describe the situation somehow or another. It's important to first present where the character is when drawing the illustration. Repetition of closeups and pulls are also important, and comics that are hard to read have a lot of busted-up conversations going on as they are". It's always easier to draw characters when they have spoken dialogue, but in Sangetsusei, when one of the Three Fairies gets surprised, I'd have to draw all of them being surprised in their own ways, or else it'd look lazy, and they wouldn't look like they were a trio at all. So, even if it was tedious, I try to include all three fairies in the picture whenever I thought it'd be necessary.

――

キャラの等身はちょっとずつ縮んでますよね。

The characters' body proportions seem to be gradually shrinking, don't they?

M

それは完全に手癖ですね。気を抜くと手足が太くなっていくので……一時期は本当に顔がつぶれていましたから、単行本の際に修正したりしています。新シリーズを始める際は、気をつけて等身を上げようとしています。でも、ほかの方の絵柄によく影響されるんもあるかもしれません。

That's entirely a quirk on my part. If I wasn't careful, their limbs would end up getting larger and larger...At one point, the faces were really squashed, so I had to fix them for the book. Whenever I start a new series, I'd have to be careful to make the proportions look even. However, I also tend to be influenced by other peoples' design choices a lot.

――

好きな漫画家といえば?

Who's your favorite mangaka?

M

たくさんいますが、絵柄的に影響を受けたのは田中久仁彦さんですね。Karenさんの影響もあったんですが、漫画的には田中さんを意識していたころがすごくあったと思います。あとは武田日向さんですね。武田さんの影響は本当に大きくて……サニーなんて、やえか(「やえかのカルテ」)にかなり近いと自分で思う時があります。あとは松倉ねむさんですね。

There are quite a few, but Kunihiko Tanaka was the one who had influenced the design end of things. Karen was also an influence of mine, but in terms of manga, I think there were times where I was very conscious of Tanaka. Then there's Hinata Takeda. Ms. Takeda has been a big influence on me...I'd sometimes think to myself that Sunny greatly resembles Yaeka (from "Yaeka no Karte"). There's also Nemu Matsukura.

――

まあ、それは逃れようがないというか……。

Well, there's no getting around that, is there...?

M

いえ、もともと「三月精」が特に好きだった理由が、松倉さんが描いていたからなんです。「三月精」とは別に絵描きさんとして普通に好きなんですよ。なので、自分的には松倉さんと武田さんを足して二で割ったような絵柄という気持ちがあります。今のコンプエースの編集長が「やえか」の巻末の記事を書いていたと知ったときは感動しました。そういえば、「三月精」は比良坂が好きに描いてる同人みたいに思われることもあるみたいなんですが、そうじゃないんです。言葉の端々までビッチリ原作からの指定がありますからね。もちろん同じ原作をもらっても、描く人が変わったら違う漫画になるのだと思いますが。

No. The reason I liked Sangetsusei was partially because it had been drawn by Matsukura. Aside from Sangetsusei, I like her as an artist in general. So for me, it feels like my art style is Matsukura and Takeda added together and then divided by two. I was thrilled when I learned that Comp Ace's current editor-in-chief had written an article at the end of a Yaeka volume. Come to think of it, "Sangetsusei" is sometimes thought of as "that doujin series that Hirasaka likes to draw", but it's not. Every word is completely specified in the original series. Of course, even when working on the same story, if the person who works on it changes, it'll end up being a completely different thing.

――

連載再開のきっかけは。

What prompted you to resume serialization?

M

前の担当のKさんが、連載終了後もZUNさんのお酒のコラムの取材に同席するよう呼んでくれていたんです。実は「Oriental Sacred Place」1巻用にZUNさんの描き下ろしシナリオがあったんですが、いただいたのがスケジュール的にどうしても描けないタイミングで、お蔵入りになっていて。それをせっかくだから描いてみたいと相談したんですよね。そのうちにどんどん話が変わっていって、どうせだったら新しい連載をやらないかという話に落ち着いたんです。ZUNさんとしても私としても、再開の予定は特になかったので、本当にたまたまですね。当初は半年に一回くらい掲載しようか、みたいな話をしていたんですが、最終的にはシーズン連載で年4回という形になりました。

K, my former supervisor, had invited me to attend ZUN's alcohol column even after the series initially ended. Actually, I had a scenario commissioned by ZUN himself for the third entry, "Oriental Sacred Place", but my schedule wouldn't allow me to draw it, so it was placed on hold. I asked him about it, since I wanted to draw it, but the conversation eventually ended up changing, and we decided that a new series would be serialized after all. As for ZUN and I, we had no specific plans to resume the project, so really, it just kinda happened. Initially, we had spoken about publishing a story once every six years, but ultimately, we settled on making it a seasonal thing, four publications per year.

――

なるほど、そんなことが。

I see, so it's that kind of thing.

M

そんな流れなので、連載再開が決まったときにはクラウンピースなんて影も形もありませんでした。たまたまその後にすぐ「紺珠伝」が出て、「三月精」に登場させることが決まっていたかのように思われる読者もいるかもしれないですが、全部たまたまです。ZUNさんも当初「前と同じ感じになっても面白くないから、新連載はどう変化をつけようかな」とおっしゃってましたし。

That's how it went, so when the decision was made to resume the series, Clownpiece was nowhere to be seen. It just so happens that Legacy of Lunatic Kingdom had come out after that, and some readers may think that it was decided to place her in the Sangetsusei series, but really it was all a coincidence. In the beginning, ZUN had stated, "It won't be interesting if the series was the same as before, so we have to think about how to shake things up for this new entry".

――

漫画家をやっていてよかったことは?

What is your favorite part about being a mangaka?

M

褒められるのがうれしい、というのは反応をいただくのが嬉しい、ということだと思うんです。好きで描いてはいますけど、反応がないのは寂しいですからね。今は昔よりも反応がわかりやすいので、いいかもしれません。「三月精」を描いていると、こういうロリっぽい絵しか描けないと思われがちなんですが、そこまで趣味100%というわけではないので、普通の等身のお姉さん的なキャラも描いていきたいですね。

I like receiving compliments, so I think my favorite part would be the happiness that comes from receiving responses to my work. I draw because I like to, but it gets lonely when nobody responds to your work. It's easier for me to understand the feedback now than it was in the past, which is probably a good thing. When I draw for Sangetsusei, people tend to think that I'm only able to draw loli-ish artwork like in that series, but I'm not 100% into that sort of thing, so I'd like to draw characters with normal, woman-like proportions.

――

オリジナルを描きたい欲求はありますか?

Do you have a desire to draw original stuff?

M

漫画よりもゲームのイラストとかのほうが描きたいですね(笑)。現代劇が好きなので、学園ものとか現代が舞台の伝記ものみたいなのが。あと田舎を舞台にした作品の空気感も好きなので、そういうお仕事をいただけたら嬉しいです。

I'd rather draw illustrations for games than manga (haha). I like contemporary dramas, things like school dramas and biographies set in modern times. I also like the atmosphere of works set in the countryside, so I'd be happy to be able to make those kinds of works.

――

これから新しい単行本を買う方へのメッセージをお願いします。

Do you have any messages for people who wish to buy the new volume?

M

新しいシリーズに入ってから、自分なりに以前よりも可愛く描けているかなと思います。もう連載開始から1年以上経ちましたが、雑誌で読んでいない方もいらっしゃると思うので、早く三妖精とクラウンピースを見ていただきたいですね。ほぼ四人組みたいな感じになったので描くのは大変になりましたが、三妖精は自分にとって娘のような存在ですから。前のシリーズが終わったときにもう三妖精を描くことはないだろうと思ったのですが、結局同人誌でも描いていたので、今後もなにがしかの形で描いていくんだろうと思います。

Since I've started this new series, I think I've been able to draw the girls cuter than before in my own style. It's been more than a year since Sangetsusei began, but I know that there are people who haven't read the magazine, so I hope those people get to see the Three Fairies and Clownpiece soon. It was a lot of work drawing them all since they're basically a quartet now, but the Three Fairies are like daughters to me. When I finished the previous series, I thought I wouldn't be drawing the Three Fairies anymore, but I ended up drawing them again for a doujinshi, so I guess I'll continue making art of them in some form or another.

東方三月精 Strange and Bright Nature Deity ①〜③
原作 ZUN 漫画 比良坂真琴 定価 各巻(本体1,500円+税 発行 株式会社KADOKAWA
Touhou Sangetsusei (Eastern Three Fairies) ~ Strange and Bright Nature Deity (Volume 1-3)
Original Work: ZUN
Manga:Makoto Hirasaka
Price per volume: 1,500 yen + tax
Publisher:KADOKAWA
東方三月精 Oriental Sacred Place ①〜③
原作 ZUN 漫画 比良坂真琴 定価 各巻(本体1,500円+税 発行 株式会社KADOKAWA
Touhou Sangetsusei (Eastern Three Fairies) ~ Oriental Sacred Place (Volume 1-3)
Original Work: ZUN
Manga:Makoto Hirasaka
Price per volume: 1,500 yen + tax
Publisher:KADOKAWA
最新作

東方三月精 Visionary Fairies in Shrine.
2018126日発売予定!

Latest Entry

Touhou Sangetsusei (Eastern Three Fairies) ~ Visionary Fairies in Shrine. (Volume 1)
To be released on January 26, 2018!

Notes

  1. Manga adaption of the Nihon Falcom game, "Romancia" (aka "Dragon Slayer Jr.").
  2. Nippon Electric Company
  3. A Galge (ギャルゲー), shorthand for Gal Game (ギャルゲーム gyaru gemu), is a type of computer game (usually rated for adults) which features attractive female characters and is mainly marketed towards young men.