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4 SERIES Stargirl


TMG: THE MIGHTY GANG Script and art: Joana Rosa



Rewind and Reboot What you see here on your screen is our first edition of a free series with digital distribution, which we have named ‘Rewind’. Here, you’ll read some of the comics we preevously published, as well as new content, such as interviews, articles on TV series, cinema or gaming.






Ana Teresa Pousadas


I’LL PROTECT YOU Script and art: Kachisou





Ninjala Little Town Hero

Editorial Ricardo Andrade Contributors Isabel Gomes Pablo Simas Ricardo Andrade Diana Cordeiro Special Thanks Elisabete Freitas Comic Book/ Manga Joana Rosa Kachisou Publisher Jankenpon, Lda Online and free edition All images are © respective owners No part of this magazine can be used, stored, transmited or reproduced in any way without the prior written permition of the publisher Contact us geral@jankenpon.pt

This is the transition from our regular format to the new one we’ll present when we release the Jankenpon # 18. We hope you enjoy it and recommend it to anyone you know. A high-five to everyone!!

The members of the JANKENPON studio



STARGIRL The new project from the DC Comics television universe arrived at HBO Portugal in May, and we are in the final stretch of the first season. On the eve of the last episode, we decided to highlight what we consider to be the best series in this universe.

Series This is indeed a teenager series of superheroes. Whose humor and character development match the action. It’s incredibly fun to watch. In each episode, no matter how much the situations are pure fantasy, there is a solid foundation to it capable of making the viewer believe what on what is on the small screen. This is the one series of the DCU that made me feel the enthusiasm I fell when I’m reading comics. Stargirl has been with producer Geoff Jones since 1999 when he first started writing comics for DC Comics. Her debut was the comic book Stars and S.T.R.I.P.E, where Courtney Whitmore first appears. She discovers that her stepfather - Pat - was the partner of a well-known superhero. She assumes the identity and equipment of the late hero, forcing Pat to protect her and assume the role of his partner.

Geoff Johns Brec Bassinger (Stargirl)

The new Justice Society of America


Christopher James Baker (Brainwave) Luke Wilson (Pat Dugan)

Stargirl has a special meaning for the screenwriter. It was created as a celebration of his younger sister, who died a few years before he created the comic. In his interviews, Geoff Johns says that Courtney Whitmore (the character) was created from the memories he has of his sister, Courtney Johns. Both are energetic, unable to retreat in the face of a problem, determined, almost to the point of harming themselves by dedicating to something they believe in. In fact, this is the main characteristic of Stargirl that Brec Bassinger was able to best represent. At the beginning of the series, Courtney (Brec Bassinger), is a high school student and gymnast who reluctantly must relocate to accompany her mother, Barbara (Amy Smart), stepfather Pat (Luke Wilson) and his son (Trae Roman). Upon arriving in the small town of Blue Valley, Courtney’s life takes a 180-degree turn: she discovers that Pat was Starman’s partner and member of

Series the Justice Society of America, a group of superheroes decimated years ago by their nemesis. Making things worst, Starman’s Cosmic Rod chooses her as the successor of the superhero. Pat tries that Courtney does not become Stargirl, but rod seems to have a will of its own and Courtney is determined to assume the mantle of the superhero. Courtney’s actions will reveal a conspiracy simmering at the city, directly connected to the death of the superheroes, including Starman (whom Courtney thinks is his father). The threat forces her to recruit new members for the Justice Society of America (JSA), all inexperienced young people that Pat will reluctantly train and prepare for the worst they can face. Fortunately for new SJA members, Pat has many years of experience, in addition to building and piloting a 6-meter tall mecha known as S.T.R.I.P.E.

Yvette Monreal (Wild Cat II)

The series’ villains are the Society of Injustice of America, who infiltrated in the Blue Valley community and are carrying out a plan that will transform six U.S. states into the pinnacle of perfection that their leader Jordan Mahkent has designed. Be it a hero or a villain, family and free will are the main themes of the series. The character’s family and Neil Jackson (Jordan Mahkent/ Icicle)

Anjelika Washington (Doctor Mid-nite II)



TMG – THE MIGHTY GANG chapter 9 - part 1

A fantasy action comedy adventure written and drawn by Joana Rosa. Tells the adventure of three young elements in their quest to find and eradicate the Daimonics’ threat. For the trio, more important than winning the war, is to find the truth about their origins. Johanna, Sarah and Andre travel from country to country, confronting several threats and dealing with many surprises, such as Magda and Julianna, two other elements that mysteriously appear on their path.

the emotional ties they have are the motivation behind their actions. In one way or another, this is the center to which the narrative always returns to. The free will theme brings out the old expression “tell me who you are with and I will tell you who you are”. In this case, will the descendants of heroes and villains perpetuate the convictions of the previous generation, or will they achieve much more? And in these episodes, we see that each character is a separate case from the rest. In addition to executive producer, Geoff Johns debuts in the role of showrunner of the series. His efforts led him to move to Atlanta (where they filmed the series) to personally monitor the entire production and supervise the day-to-day details of the shooting. The production sought to differentiate this series from the rest of the DC Comics universe, starting with photography that is closer to cinema than to typical television photography. The soundtrack is another area where they have spared no effort, being under the baton

THE AUTHOR ON THE WEB https://hazurasinner.deviantart.com/ https://www.instagram.com/hazurasinner/

of the award-winning Pinar Toprak, composer of the soundtrack for films such as Captain Marvel, Justice League, and the Krypton series, among others. Even at the level of action and special effects, there is an investment above what has been done in the other series based on the characters of DC Comics. All episodes have a sequence of special effects and done with excellent results. The last episode of this series premiered this month, so now you have every reason to start watching the full first season of adventure.

CHAPTER 9 - Part 1

YOU DID WHAT?!! Not all of it!

Sarah... the bag is half empty.

You mean “half full”.





It was just a small amount.

You spent all our savings?!


CHAPTER 9 - Part 1

And we have to pay the apartment’s rent soon.





Guys, I spent money on stuff we need. Why are you panicking?

This is bad. With this half we won’t last more than a month.

a j-j-job?

A-Andre, Calm down. What’s done is done.

It seems we have no choice but to look for a part-time job.

You’re curious, aren’t you?

About what?

The Elemental Weapon.


Remember that I’m an Element. My body isn’t that fragile.


I’m surprised that you recovered in a week.


CHAPTER 9 - Part 1

And why do you think that’s it?

But I won’t tell you how it’s done.

Because you were quite shocked when I summoned my spear.

Why? You’re scared that I might beat you when I summon a weapon?

Actually, it would make the fight more interesting.




I’m not afraid

I’m not telling because I found out on my own. Why should I show you the way?

You’ll find out one day.

How do you expect me to figure out without a hint?

Or not. Not my problem.

I’M NOT GOING TO get a job!


Sarah, if we work together the money we lost will be restored way faster.


Uff! it’s like she’s glued...

Johanna, if you don’t mind, please.




Yes you are!


CHAPTER 9 - Part 1

And here we go.


I should’ve asked her right away...








CHAPTER 9 - Part 1


Guys, I’m not going with you this time.

You’re not going to use the “tummy ache” excuse again, are you?

No. It’s because I don’t do my chores right and I always mess it up for you.




I’ll stay out here. I promise to do better tomorrow.

Alright, Sarah. You can leave the rest for us.

Johanna! What are you saying?!

Don’t forget we need to be alert in case a Daimonic shows up. Sarah can be our lookout.

Tremble before my power, Elements!!

to be continued!



eh eh eh... I found them.


Hmm... ok.





A conversation with Joana Rosa, co-founder of Jankenpon studio and this newspaper. We took advantage of a break in the pre-production of her first book to talk about work, art, personal development, and diversity. JKP: We have been following TMG The Mighty Gang since the first release of the Jankenpon newspaper. It’s been on your hands for quite a long time. Joana Rosa (JR): It is a very peculiar story that has been with me for over a decade. It was conceived when I was in high school, it had a different concept, at the beginning it was a short story, a kind of tribute to the friends I made in high school. It was when I started doing comics. I ended up having a much bigger idea for the story and, eventually, it stopped being associated with anyone I knew. I only kept the names of the characters out of respect for the origins of the project. The character designs have also changed over time, becoming what we see now. At the time, the comic became a saga. I’m even ashamed to say this but it would take 15 years, publishing monthly, to tell the whole story as it was then. I’ve been cutting and improving several parts, so much so that it is already half the original size. JKP: 15 Years is a long time. JR: It’s a common mistake for younger artists when they start making comics. But we must be realistic.

Writing and drawing a story that lasts for such a long time, can drive you to despair. Since It’s a very dear story to me, instead of giving it up, I have rewritten it, I have removed many superfluous parts and improved it overall [laughs] I hope so… but it is smaller now,

less than half of what it was. JKP: The changes in the dynamics between the characters are rather curious. They begin with a more enthusiastic, almost childlike attitude, and towards the end of this archthey already seem to be different, more grounded. JR: This is because when the three characters meet, they are extremely focused on themselves. They only show-off all that energy and what they want to achieve. They do not let themselves to be known to each other, nor to the reader. I wanted the reader to accompany them on this trip, we only get to learn more about the characters the moment the three start to work and live together. Then, the little things appear, it is difficult to hide because there is always something that escapes, and everything changes. It is a discovery for everyone. And it will change even more. There’s a lot they still don’t know about each other. It will hurt them to discover their origins and specially to share them, but they are a team and they support each other, and that makes all the difference.


Interview JKP: Nowadays there is a lot of talk about diversity. The Mighty Gang is a culturally diverse comic. The characters are from different backgrounds and places of the globe. Also, you mention different mythologies. JR: Initially I included Egyptian and Greek mythology without thinking much about how they relate to each character. I did it, simply because I liked it and thought it was cool to include it. At that time, I was still in high school, but while I was growing as an artist and storyteller, I understood that each concept must have a justification, to be present in the story. I have developed an extensive research on cultures and mythologies, to be able to use them correctly. To be able to connect the characters more deeply with their culture, and use the mythologic elements that made the most sense with the characters’ ways and behaviors. Also, not to misrepresent anyone. The story has much diverse characters. I think most readers will be able to find at least one character with whom they can relate with. JKP: : You have introduced the TMG members in your Instagram,pointing out their sexual preferencies. JR: [laughs] Yes, there was a remarkably high response. People reacted very well to that post. JKP: At TMG, is this gender and sexuality diversity very present? JR: This is a very personal story to me. Even with all the fantasy roaming there. And that part also has a little bit to do with myself and... I had to accept that part of me. I see that the public is now more open to this theme. And I thought: “why shouldn’t I show that side of the TMG, once it is so important in their psychological construction?”. Each one of them has her/his own orientation and preferences. With this post I was able to check that people are more open minded

in which concerns this subject, so I felt more comfortable to address it. Even those who already knew the characters, they have sent me private messages saying that they had started liking one in special, because they could relate to their sexuality. JKP: So the fans actually talked to you about their orientation? JR: Yes, there were messages about it, in a good way. And that’s just as well, because I think it is very important to include these themes into the story. JKP: The first arch is now over. JR: Yes, there are 250 pages. I am reviewing all the pages for the trade paperback. JKP: In this arch there is a change in the art style, which we can notice comparing the first chapter with the last one. It used to be more manga driven (if I can say it like this), and now it’s different. JR: Oh dear [laughs], you are going to put me in check like that. Well, when I started working on the book, and I reviewed the first chapters, I just thought: “heavens! At the time I thought this was the peak of my art” [laughs]. I’m glad it isn’t, and I’m still learning more. Noticing the huge

Interview gap, made me go over all the pages right from the first one. So far, I have adjusted the first seven chapters so that this difference wouldn’t be too evident. It’s still there, I haven’t drawn everything again, but I have made a lot of changes, including in the layout of the pages. I wish those who read the story will not be distracted from the story itself because the drawing style changes. JKP: That leads me to another question. How was your growth process within your art? JR: By the time I did the first chapter, I was in a phase where I only used to read manga and watched anime. I was ignoring everything else. I used to draw according to that style and repeated the same mistakes. Later on, I understood that in order to evolve as an artist and as a person, I needed to let in all kinds of media like American comics, European comics, and also animation and I have started watching different movies, even independent cinema, just to expand my mind. I’m always learning, which puts me on the right track [laughs] I think.

JKP: Throughout this process, did you try to get any academic training, or were you self-taught? JR: Mostly self-taught. I didn’t have the proper grades to get into Fine Arts, so I decided to try the first year of the comic and illustration course at Ar.Co. I was there until the end of the third year before leaving and continuing to learn for myself. By the way, when I said that I have decided to learn more

outside manga, that was a lot due to Nuno Saraiva, who was my teacher and constantly insisted that I should read other things and that I had to experience life more. Only when I left Ar.Co I understood his words. JKP: Amongst those experiences, is there a special one for you? JR: The greatest one was making the official Portuguese poster for the Sonic movie earlier this year, and having my work approved by Paramount Pictures. It had been so good to be invited by NOS Audiovisuais to do the job, and it was huge to have my work approved by Paramount Pictures, which has a complex approval procedure. I can only be thankful for this. It’s one of my favorite characters ever, I love Sonic, and I’m a big fan of Jim Carrey, it’s hard to explain. It was surreal to make the poster. Another special experience, for completely different reasons, was drawing live at a lecture in the Free Electrons conference


by Beta-i and EDP in 2018. It was all about energy, and my job was to illustrate what the speaker was saying. I had to prepare myself previously, but to actually follow the speaker’s pace, and to keep up with the speed of the changes in the speech was quite difficult. I was very nervous. Now, I can say it was a unique experience and it was actually fun. JKP: But you’ve done live illustration quite often ... JR: Yes, but that was different,Ijust had to draw. I wasn’t following someone’s lead and keeping up with him. For example, at Fujitsu’s booth, I was drawing throughout the day on a board, I knew the time I had to do the work and did it. I was very happy with the final outcome illustration and I went back to work for the company later on. Also, at Lisbon Games Week, for XBOX, I was able to do a Destiny illustration - this one I thought I wouldn’t fully complete it, due to the details and because I was constantly being approached to talk and comment on the game. There were others, but these are the ones that come to my mind now.

JKP: We have been talking about TMG, but you have other works. Did Dreamland Protectors follow a very different route? JR: It’s different, because it hasn’t been published yet [laughs]. But yes, I think I can unveil a little about it. I used to carry a little notebook and I used to draw while travelling. I used to make character designs, just for drawings sake. Without any specific intention. Years later, I went through the notebook and the different designs

all seemed to be from the same story. I have created the story from these sketches and not the other way around, as I usually do. My head works in a very strange way [laughs]. It was an opportunity to create a one-shot. I did it, and I’m happy with the result, and we’ll see how it goes from here.


JKP: And it’s not the only one you’re doing ... JR: I have been drawing smaller stories without dialogues, with only 8 pages, that I will finish when I get the chance. JKP: Smaller and smaller. JR: TMG is enough for a saga[laugh]

TMG - The Mighty Gang Volume 1 on sale the last quarter 2020

Also, preparing the book while doing the following chapters keeps me busy the whole time. JKP: Finally, what advice would you give to someone who is just starting out? JR: When asked about comics only, what I say is “don’t do what I did”. Make short stories, with a beginning, a middle part and an end; with just a few pages, so that you can showcase and check the result right away. Also, to get feedback from other people and be able to improve in the next story. Only later, you should take on a larger project. If someone had told me at the time, “start with a small story”, it would have been useful. It is the best advice I can give. Regarding drawing and illustration in general, do not start by mimicking a style, or anything already stylized by another artist. I made that mistake. You must first study the real anatomy, perspective, draw from sight, take in as much information as you can. Then you have the basis to stylize and create

your personal style. At a certain point I had to go back to zero and seriously learn about the anatomy of people and animals, and learn about perspective. Try to learn about everything, to keep you from making the mistakes I did. It does not mean that you should only draw realistically, but start from the basics, and go on from that. Nowadays I’m still learning. It makes me shiver when I see what I used to draw. JKP: And what do you say to those who think that only those who have the gift know how to draw? JR: Ah ... how ridiculous. It is all about practice and work. How ridiculous to use that word. Of course, there are people who learn more easily than others. It is so ridiculous to hold on to the idea of a “gift”. But no, I am the proof. I have no gift, I am very stubborn, every day I want to do better than the day before. When I am not drawing for a long time, I lose my gesture. The “gift” is just an expression. Each person is different, but if you really love it, practice a lot.


Scoob! by Ricardo Andrade

The recent good news following the reopening of the movie theatres is that you’ll be able to watch one of the year’s best animation on the silver screen. I’m letting you know that I’m biased, since Scooby-Doo is one of my favorite childhood characters, and I’ve gone back occasionally to watch the old episodes. This movie hits the sweet spot. Not only it’s good, but I’ve also been disappointed by the previous Scooby-Doo features. The worst was James Gunn’s live-action version. And yet, this is the movie Mathew Lillard was brilliant and proved to be the perfect actor to play Shaggy, anytime. Well, back to Scoob!.

Cinema Scoob! is the film about the relationship between a boy and his dog, in this case, Scooby-Doo and Shaggy. Its an origin story, how they met, and the start of their friendship. Everyone knows it’ll be forever. Actually, in this feature, we can say that their relationship reaches a new level of maturity, but I’m making it sound too serious. Don’t worry, five-and-a-half sandwiches with chips, ketchup, earthworm gum, and liver sausage, as well as pickles are still included. In the first 5 minutes (which Warner Bros made available online) we learn how Shaggy adopted Scooby and saved him from a lot of trouble. Later, on Halloween night, bullies throw Scooby and Shaggy’s candy into a haunted house. The duo is helped by Fred, Daphne, and Velma who encourage them to go and get the candy. Here, the five kids stumble into and solve their first mystery. This is how Mystery Inc. was born, or as the criminal call them: “those meddling kids”. The test to their friendship presents itself as Simon Cowell, who participatesin the film as himself, with his usual brutal honesty, and as the Mystery Inc.’s potential investor. They need one because, as Fred explains it well, the Mystery Machine needs a complete renovation. Cowell questions the role of Scooby and Shaggy in the group, and when their friends do not defend them, they both move away from the group. At that moment, a swarm of shapeshifter robots tries to kidnap Scooby at the behest of the film’s villain, Dick Dastardly. They are saved by the Blue Falcon team, one of the first guest stars from the animation portfolio created by Hanna-Barbera. From this moment on, I can only tell you to go and watch the movie at the cinema. If I tell you more of the story, I’ll spoil most of the easter-eggs that await you. The film production lasted 5 years, and director Tony Cervone’s first concern was to ensure that the

3D animation of the film didn’t look realistic, keeping it close to the cartoon feel of the classic episodes. To this end, he worked with designer Michael Kurinsky, renowned for his work on Spider-Man: In the Spider Universe. The purpose to keep the original cartoons present is also felt in the sound design. Moments into the first scenes, anyone can recognize the sound effects of the original series, either with opening doors or when Scooby tiptoes. In the soundtrack, composer Tom Holkenborg, aka Junkie XL (Terminator: Dark Fate) took a very different approach from that used in

Cinema his previous films. Here he updated the themes of the original series “with nods to industrial, hip-hop and even gabber […]The majority of the score is me blending a lot of hip-hop rhythms and beats with the zanier elements of the original series”, as he stated in his interview to comicbook.com. The overall look of the film reflects the care the team has, from the animation to the visual and sound effects, including the cast performance. Cervone said in one of his interviews that since Scooby is a world icon, the actors immediately accepted to work on the film. Gina Rodriguez was the first onboard for Velma’s voice. According to the actress, Scooby is intergenerational. She used to watch the cartoons with her older sisters, one of whom was ten years older than she was. For Amanda Seyfried, this brings back “the mystery that has to be discovered” and excited her as a kid, while Zac Efron is excited he shares this story with the world, being a fan of the character: “We need Scooby-Doo. Scooby is a very good thing in this world”. The cast includes Jason Isaacs, Mark Wahlberg, Will Forte, Tracy Morgan, Ken Jeong, Kiersey Clemons, Billy West, Christina Hendricks, and of course, Frank Welker as Scooby-Doo’s voice. In addition to all the adventure, Scoob! introduces a Hanna-Barbera cinematic universe. The participation of Dick Dastardly, Muttley, Blue Falcon, Dee Dee, Dynomutt and Captain Caveman can kick-off new films, bringing together the diverse characters made by this studio. Wacky Races comes to mind. I’ll leave this idea for you. At the beginning of the article, I said the film is about friendship, one between a boy and his dog. It would be more accurate to say that it is the friendship between several boys and their dogs, or as the actor, Jason Isaacs said: “there are three pairs in this film: Scooby and Shaggy, there’s Blue Hawk and Dynomutt

Cinema and of course, Dick Dastardly and Muttley”. Three very different friendships, but the stage belongs to Scooby-Dooby-Doo and Shaggy too. Scoob!’s original debut was haunted by the COVID-19 pandemic. Warner Bros decided to release the film on SVOD platforms, becoming one of the two mostviewed films in its opening week. Now it takes a rightful place at the cinema screens, still under the specter of the COVID-19. We hope that you’ll watch it on the silver screen. It is guaranteed that you’ll carry a silly broad smile through the film, for it is a entertaining and heart-warming animation.

2020 Warner Bros. Ent. All Rights Reserved



ATP: When the little button appeared, my nerves skyrocketed. JKP: How many times have you been on stage? ATP: On stage? Several times, mainly singing [laughs] but it’s different… JKP: Shall we begin? ATP: Okay, okay, I’m ready, I’m good.

Ana Teresa


Ana Teresa Pousadas is one of the newest talents in dubbing cartoons. Motivated, energetic, and passionate about the profession, she has worked in several series and films, the most recent being My Hero Academia: Rise of Heroes which will soon debut in Portuguese cinemas. We had arranged this conversation for the FNAC auditorium, but due to the pandemic it wasn’t possible, doing it on to the virtual realm.

Jankenpon(JKP): How has it been with the current situation with COVID-19?   Ana Teresa Pousadas (ATP): With ups and downs [laughs]. March and April were the most difficult months, as the studios closed, so I had my wings cut. I had no work. Finally, the channels started to think: “there are people at home, why not invest?” and we started doing the dubbing remotely. Fortunately, the studios opened again, mainly PSB, following all the health recommendations. So, last month, I recorded three series. It’s all good now. JKP: Can you say which series are those? ATP: One of them I cannot talk about, the other two are Squish and Paper Port for RTP2 (Portuguese National Television). The first is an animation about amoebas, protozoa, and microbes. It is very cute and really good. It has everything to do with the current context [laughs]. Paper Port, I’m also recording the second season. I had already recorded the first season as one of the main voices and now I return to the series.


JKP: What can you tell about Paper Port? ATP: It’s a very funny series, full of references to Pokémon, movies, and many other things. It is very educational and very funny for kids. I’m the voice of Matilde, one of the main characters. Paper Port (RTP2)

JKP: Do you remember how you decided to do dubbings? ATP: : I remember! Clearly. I was very small, watching cartoons and trying to mimic the voices. I loved it! I thought, at first, that was a game that I really enjoyed. And from that time, the passion for it started.

JKP: And professionally, how did it all start? Did knock the doors of the studios? ATP: Before the studios, I started in 2011, I was ... 14 years old. At the time, there was a large community of fan-dubbers and I was part of that community. Because I identified myself with that. At the time, I didn’t know anything about editing programs or dubbing techniques. JKP: How did you do? ATP: I tried Movie Maker and I could do some magic with it. I realized that I could get the instrumental version and put my voice on top. It was a fantastic discovery. I created an online portfolio on Youtube and one day, I realized I had already made 50 videos. At that time, my mother turned to me and asked what was my purpose with all that work. I said that my goal is for someone to see and

Interview I said the Chinese words perfectly. In addition to saying the words well, we had to say them with the correct intonation, because otherwise, it could become offensive. Orientation was essential. It was my first series and it was really impressive. I didn’t expect to have that much outside intervention. I thought I would get there, do the work by myself and finish. But no, there is a lot of work, and people, behind the dubbing work.

Ni Hao, Kai Lan

do something, as a professional. My mother’s support was essential, she was the one who sent emails to all the dubbing studios and, from six or seven studios to whom she sent my portfolio, one of them called back, the PSB Audiovisuais from Paulo Martinez.

interpreter there, guiding us so that everything was correctly pronounced. For me, it was all excruciating because I had to repeat it over and over until

JKP: How did the first contact with a professional studio go? ATP: [laughs] I did a casting and I didn’t pass! I didn’t pass... no... and I cried a lot. But they told me that they wanted me to work with them, because I was comfortable in the booth, and I was confident of what I was doing. They would call me later when they had a series and could use my voice. In the same month, they started work on a series called Ni Hao, Kai Lan. It was a very cute and very educational series that taught children how to speak Chinese.   JKP: And what did you learn from Chinese? ATP: I learned to count to three (I don’t remember much, now), how to say “let’s work together”, the colors… You can’t imagine, they were very slow dubbing sessions. We had a Chinese

Squish (RTP2)

JKP: You started right away with a very peculiar case, very different from the usual dubbing process. It must have been quite an impact on you. ATP: Yes, without a doubt, [laughs] it was complicated. At home, I would isolate myself and record. In the studio, I work with several people who have a key role, such as the technician, the dubbing director, and also the Chinese interpreter and translator. It puts pressure on me in such a way that I started to realize that it was not just talking into a microphone, which is what I used to do at home. After understanding all that complexity, I realized that it was a complicated job of creating emotions, characters, and characteristics that you are not in your nature. Change your personality in such a way as to become someone else for as long as you are in the recording booth. JKP: It’s being an actress, just like any performance on a stage or film, but working only with your voice and synchronizing the lines with the movements of the characters’ lips. ATP: And in a different language! We have to have to do as perfect synch as possible and understand how the character speaks. Each character has his own way of speaking. Some are energetic, others are calmer. We have to fit the personality of the character to whom we are giving the voice, which also shapes the way of being in the cabin. A calmer character makes it take longer. Others speak so fast that it seems that everything is done in a moment.

Interview JKP: Can you give us any examples? ATP: : I did a character in Squish in which she spoke very fast. There were lines of a whole page where she didn’t even stop to breathe. And this is very difficult. You have to respect the pauses in the sentences, that final dot in the text that is not a final dot when listening to the dialogue. We have to know how to read the text and process all the information that is in the script and in the video in order to give the performance. JKP: For this work is it important to have any specific training? ATP: You know there is an overall idea that you have to be trained in theater to do dubbing. I did not have this training when I started, but after working professionally, I started to attend workshops and to have a greater interest in the area. I started doing musical theater, learned a few things from Teatro do Biombo [a theatre company], and wanted to get more involved to learn a lot more. Did workshops like the one [voice actor] Quimbé teaches.

Totoro (Studio Ghibli/ Outsider Films)

JKP: : In our experience with dubbing, we know that many times, when the actors arrive to start a new role, they have very little time to get to know the character. ATP: It depends on the studio. I have situations where they call me for casting and then they explain the character and tell me all about it. This helps the actor to interpret better.

Without these references, it is a bit of a blindfolded game. When we enter the cabin, we have to feel some connection with the character, know her, even if we don’t personally identify with her. JKP: You always have to understand what’s going on in the character’s head to be able to create the tone its voice. ATP: And there has to be an emotional and sensitive side to the work that many of the voice actors don’t have... This is something I like to talk about, I don’t think I am better or worse than anyone else, I am me and I do my job. There is work for many people in this field, but it is important to get out of the booth and be humble. Understand that there are limits, that there are voices that are not compatible with yours, that you won’t land a job if your voice doesn’t fit as well in the character as someone else’s. I am very grateful that Ni Hao, Kai Lan was my first job because it taught me humility. JKP: Was there ever a character, you knew was not for your voice?  ATP: There was, in the Teenage Mutant Ninja Turtles. They asked me to do the casting for the April character. When I got there the whole character had changed, it wasn’t the girl in the yellow jumpsuit. She was black. Okay, I decided to have a go at it and asked to hear the character’s voice first. As soon as I heard her speaking in English, I realized that she had a deep soul presence, and I immediately said

Interview “I’m not the right voice”. But I wasn’t sad. My attitude towards [head of the studio] Rómulo Fragoso and Pedro Lima was “thank you very much for having given me the opportunity”, but I knew that wasn’t for me. The fact that they called me, alone, meant the world. Another voice was needed. JKP: You’re a fan of anime and the Ghibli studio, aren’t you? ATP: Yeah, I saw those movies a lot when I was a kid. It’s my aunt’s fault for it. She showed me Princess Mononoke and I fell in love with all the movies. JKP: And you already worked on dubbing them… ATP: I worked in two films by Studio Ghibli. I was one of the main voices in My neighbor Totoro and in Kiki’s Delivery Service I was the voice to Kiki’s mother, and also some other secondary voices. For me, it was a career accomplishment to be able to reach the quality level required for dubbing the Studio Ghibli films, and I would be happy to be a part of it, with any small participation.  JKP: Is there a difference when you’re working on a television series and when you’re making a movie? In terms of performance and also in the production process by the studios. ATP: There is a big difference. For television, we already have superdelicate care to fit the voice in the mouth of the characters. When it’s for the movie theatres, we have to be aware that everything will be screened

Kiki Delivery Service (Studio Ghibli/ Outsider Films)

on a huge screen, therefore any flaw will be fully exposed since you see all the details of the character’s mouth movements in so much detail. In terms of acting and dubbing directing, there is a greater commitment. It is the peak of the technique. Everything has to be perfect. I am not saying that on television we don’t care, we do a lot. But making it for the cinema, it’s different altogether. JKP: In cinema, you also have to rely on the dynamics of the room, when a voice comes from the front, hears from the front speakers, or when the characters come from behind the surround speakers… ATP: This is an excellent point. Even in the mastering, if there is a mistake, it will be heard in the cinema sound system, much more than in-home television. In fact, talking about the movie My Hero

Academia: Heroes Rising, we spoke about another difference. While with the series we dubb episode by episode, and we don’t know everything that will happen to the character, in the film, we do all the work in a sequence. It feels like we’re recording a lot of episodes at once. JKP: Did you ever happen to be recording a movie, and when you are reaching the end of the recordings, ask to hear the voice again at the beginning of the film because the voice starts to escape the initial recording? ATP: It happens. People have no idea. The voice as a work tool is very fragile. JKP: Can you still sing the Winx series songs?  ATP: Yes, I think I can sing it. [laughs] I only sang the songs in a spinoff called World of Winx. When it came out, I did the casting for the songs, and I ended up not only singing but also responsible for the translation of the lyrics. Since then, my voice has changed to be more bassy, but I still can still sing it, of course.  JKP: Can you choose a film or two that you worked on? ATP: Just one or two?

World of Winx (Biggs)

JKP: Those where you can hear yourself over and over again. ATP: Without a doubt Totoro. Not only for the symbolism it has but for being the voice of Satsuki, the older sister. It was amazing when I realized

Interview it was like I walked into the TV and I was living the movie. I’m not going to lie to you, I must’ve seen the movie twice a month [laughs], I can’t avoid it! It’s a great pleasure for me to hear my work in a film of that caliber. It’s a state of absolute happiness. Other films… the most recent one I made, ‘My Hero Academia: Heroes Rising. I have a very strong connection to the characters I lent my voice to. JKP: Where does that connection come from? You do the series voices too, right? ATP: Yes, but it comes from before that. I started watching My Hero Academia series out of a suggestion from my friends who are now also dubbers in the series. I started watching the series before I started to dubb it and I loved it! I loved it. It’s an anime that touched me. I love the message of hope - that others may seem better than you, but you’ll discover that you are as good or better than them. The fact that people have a singularity, and Midoriya does not, doesn’t make him any less than anyone else. He manages to become a hero, to fulfill his dream. On top of that, the characters that I identified with

My Hero Academia (Biggs)

My Hero Academia (Big Picture Films)

the most are the ones that were given to me during the casting. JKP: So, that job was really easy for you. You should already know how to do the voices. ATP: It was incredible. And I make

the voices very similar to the original Japanese. It’s very funny. I tell you, I love it. My characters in My Hero Academia are very different from each other. I feel like I have a little bit of Mina, my energetic part, happy, my foolish side. Then I have a little bit of Jiro, which surfaces when I have to talk seriously. From Toga there is that dynamic between the soft side and the “bad” side, the latter more in terms of the bad temper one sometimes has. There are days when we experience opposite emotions. Then I have a little bit of Hagakure, which is invisible and completely nuts, and she may start screaming out of nowhere, which is my hysterical part. Then you have Recovery Girl, who is the sweet and sweet side. And, finally, you have Mount Lady, which is the “sexy” side, that all women have [laughs]. It’s funny because each character, this whole female universe, has a little bit of me. JKP: It seems the work becomes even more enjoyable. ATP: Yes, when you feel... When you identify with those characters, the work becomes even more pleasurable. It’s very funny. Although I have to admit that

Interview I love doing the other side of the coin, which is dubbing the villains, which are an amazing challenge.

are not used to stop-motion, I love it! And Port Paper was one of the series that, surprisingly, had a lot of viewers.

JKP: The reception of the series by the fans has been very good. Even when the movie was announced. ATP: People have been very warm. From the moment the series started running in Portugal, we have had so much support from the fans. And we notice it even more in the main events like Iberanime or Comic-Con Portugal. We received such great love from the audience, and, that’s when you realize that you did a good job, it is making a difference in people’s lives.

JKP: Speaking of stop-motion, you created the voice to a character, for the first time, from scratch in Bruno Caetano’s film, The Peculiar Crime of Oddball Mr. Jay. You were a lady. ATP: Ladies [laughs], me, and Quimbé [laughs]. At the time I was invited to the project, they were still doing the soundtrack and effects. It’s a Portuguese animation. I had no original track to base my work on. We created the voices of the characters out of nowhere, which was great. On top of that, Bruno Caetano’s goal was to create a universal language, since the purpose was that Mr. Jay should be as universal as possible.

JKP: Top of that you’re a fan of animation, and anime, really… ATP: I live all that, [laughs] I go crazy. Nowadays I’m much more selective, but I love animation. JKP: Unfortunately, there are many animation series that do not reach our country because they are using different techniques, but they are very good. ATP: You know me, that graphicly, I like many different styles of animation. For example, Paper Port is a stop-motion series. Many kids don’t care about that. And it’s funny because the whole story is done from cardboard and it is a very interesting concept. They created such an interesting story with the way the series is made, that captivates you. Some people The Peculiar Crime of Oddball Mr. Jay

JKP: The theme itself is universal, and the result is beautiful. ATP: It’s really fantastic. You can see the commitment and hard work of the team. Starting with the narration, the art, the backgrounds, up to the dolls, that Bruno showed us there, first hand. And when you find out... that the movie was done with such little things. How do you build something so big with such small things…

Matilde from Port Paper (RTP2)

JKP: The proof of its quality is that the film is winning awards all over the world. ATP: And they deserve it. The whole project... and my part, working without references for the first time[laughs], having to create a voice from scratch... I needed direction and Quimbé was impeccable. We managed to express everything without words. We did only vocalizations, but by saying nothing, they are saying everything. JKP: Is it true that you have a collection of merchandise from your characters? ATP: Yes. With My Hero Academia, I have everything that I can get my hands on. Merchandise and figures, the Pops, I have them. I got myself into this madness, not only because



I’LL PROTECT YOU Kachisou is a young Portuguese manga author who has been gaining fame throughout the awards she has received in the Silent Manga Audition competition. We collaborated for the first time with Kachisou when she accepted to be one of the invited artists for a live art performance at the SMA (Silent Manga Audition) exhibition. This at Comic-Con Portugal 2018. At the time, we commissioned Kachisou a one-shot manga for our newspaper. The result is a delightful and emotional story that reminds us of who is there for us and supports us.


I like the figures, but because they serve as a physical proof of a character I gave my voice to. And this is so beautiful, looking at the figure and think “I gave that girl a voice”. You feel like your heart would explode. It is a wonderful feeling, no doubt. If we did this interview with video, you would see the figures around me here. JKP: Did you include your ladies from Mr. Jay film? ATP: No, I don’t think Bruno Caetano would let me keep them. JKP: So now, you are surrounded by your multiple personalities.   ATP: You know it’s something like that, yes, I confess. But there are times when I have identity crisis. I always end up holding on to a part of the character’s quirks, a part stays with me, sometimes, an expression. “Swell”, I never said “swell” in my life. Then I go on my everyday saying that because my character says it, and I adopt it for some time.


Totoro (Studio Ghibli/ Outsider Films)

JKP: But it ends up disappearing... eventually… ATP: Yes ... and saying goodbye to a character is also difficult. I get very nostalgic. I often say that I love to dubb. It’s my life. There is the expression that if you like what you do, you will never work a day in your life, and for me, it’s a lot like that. I abandon everything. Even if I am too busy with anything, if the studios call me, I go. I can’t resist all of this.




























We had the pleasure of talking to Kachisou, a Portuguese manga author awarded in the international competition Silent Manga Audition (SMA). In the previous pages, you’ve read the short story Jankenpon commissioned the author. You can read more of her work in Weak, her first book already on sale.

Kachisou Ricardo Andrade (RA): Hello. First of all, congratulations on your book. Kachisou (K): Thank you. RA: Before we talk about the book, I would like to know more about your artistic and professional life. K: Okay. RA: We met two years ago when Jankenpon held the Silent Manga Audition exhibition at Comic-Con Portugal. At that time, you had won a prize in the SMA competitions. K: Yes, Nicolas [David] and I were invited to participate in the exhibition. RA: SMA is your starting platform, and the driving force in your career. K: Yes. I’m participating in SMA since 2015 but started winning only in 2018. That’s why I consider my debut in 2018.

RA: You started teaming up with Perobense, didn’t you? K: No. I started in 2015 alone, and I only met Perobense in 2016. I had created my accounts on Facebook and Twitter, and I met Perobense on Twitter. Back then, I thought that the problem of not winning was not my art, but rather that I didn’t know how to write stories. So, I teamed up with Perobense for him to write the stories. But we also lost in 2016 and I also lost again alone. We participated twice as a team and we also lost twice. Only in 2017, we got a nomination and then, in 2018, we won RA: With The Last Bento. K: Yes, for The Last Bento I did a lot of research to understand why we weren’t winning - what were the mistakes, what we needed to do to improve. After that, I started to change my art. I showed our storyboard for The Last Bento to people I could trust, for them to read and give us their opinion. Upon hearing all the feedback, I began to be less proud and stopped thinking that I was good enough. I went to seek even more help and criticism to grow as an artist and a storyteller. RA: You continue to participate at SMA? K: I returned to compete in SMAEX4 and SMAEX5 to test if I could do it by myself. I’m a masterclass member, so I can only participate in the extra rounds. And I won a rank in both. In SMAX5 I won the GP-Runner Up. It was the first time I won a grand prize alone, I thought: “Oh my God, I’m ready”. RA: And before SMA? K: I started to draw when I was 18 years old. So, yes, 7 or 8 years ago, I believe. Before that it was more like a hobby, I wasn’t serious


Kachisou live art performance during the Silent Manga Audition exhibit at Comic Con Portugal. organized by Jankenpon powered by SMART and Molotow

about it. I was at studying, but then I decided I didn’t want to stay in school anymore and I was going to focus on my art and get a job. At that time, I was that type of child who thinks everything they do is perfect. I thought there were no mistakes in my art. I thought I knew everything. RA: And what has changed? The Kachisou that I know has the opposite mindset. K: When I lost at SMA I understood that I was wrong in the way I was thinking and admitted that I needed help. I have a friend who was like an editor for me at the time. Then I met an old friend from school who is an animator. He started to give me tips that were quite good, he gave me goals to achieve. For example, being able to draw 100 different expressions. So, I had to draw 10 expressions a day, until I reached the goal of 100 expressions. Then it moved to 100 poses. I started to set these goals until I managed to improve. Okay, it’s not that the linework improved immediately, but I managed to make better expressions. I managed to do the lines better and to be more comfortable with it all. I also watched more videos that SMAC made to explain the manga and its structure. And started studying other works so, yeah, I ended up staying at home all day with my head stuck in the paper.

Interview RA: Why manga? With all the comic styles you’ve always had access to why did you choose this genre? K: Manga is different. I can’t explain it, but there is something about it that attracts me, perhaps because I like black and white art more than colors. In the past, when I went to the art material store, there were Marvel superhero comics and others. I don’t know what’s the thing about manga. It is different, I can’t explain it well. RA: Considering you are self-taught, what would you say to anyone who claims that to draw you need to be born with a gift? K: In my opinion that is a lie. I drew very badly when I was a child and had some colleagues of mine who drew better. I wanted to be like them, so I tried to train my brain and draw correctly. Therefore, I believe that nobody is born with a gift, a person struggles to have quality. People just say that to justify not trying. RA: In Portugal, you started with us, with the SMA exhibition and the art battle with Nicolas David. K: Yes, at Comic-Con. And then the live artwork for Kit Kat at Iberanime. RA: There followed the one-shot that you can read in this edition, and that had already been published in the newspaper Jankenpon # 16. K: The story of the grandmother who wants to protect her grandson. RA: And now you have a book published. That is impressive. K: I participated in a Bubok contest. The winner’s prize was a publishing deal with them. It’s an anthology of short stories. RA: It’s called Weak. Why this title? K: It is a way of saying that we are weak as human beings, but we manage to be strong at the same time. I thought it suited the main character who is a boxer, who has a very fragile body. He realizes how weak he is, and that he needs to train and improve himself to become strong. I cared more for the psychological

side of this story because before you practice your body, you must practice your mind. You must understand your goals and, from that point, strive to achieve them. See? RA: Yes, yes K: The second story is about friendship. It’s also a story about abandonment. Here the message is that life is really, really hard. Bad things happen, you lose friends. But in the end, you can learn from all the bad that exists in the world. The third story is called Fear and was first

published online. It’s about a child who is afraid of a monster. The idea behind this story is for people to understand that there are many fears, such as being afraid of going out on the street, fear of falling in love, fear of entering into a relationship either because you suffered or because the previous was an abusive relationship. You must learn to deal with your fears, to embrace them to move on to the next step.

Interview RA: In the Deluxe edition, you have an additional story? K: It’s a simple comedy, just for comedy’s sake, to make people laugh. A group of children talks about a Chihuahua, and they start competing among them, each saying their dog is better than the others. It’s fun. The edition also has some illustrations, an interview and I added a storyboard of one of the stories. RA: And how has the feedback been regarding the book? K: In general, people liked it, they were surprised that there is a Portuguese artist who won awards in Japan. Basically, most of them liked the story about abandonment. I was surprised because I thought it wasn’t the story that had the best development. On that one, I’ve let the characters tell the story for themselves. RA: There is something that we almost forgot. We both participated in André Morgado’s project, the

anthology of comics to help social causes during Covid-19. K: Yes, yes, yes. I was a little afraid of not being able to make it. At the time, I was working on a storyboard and I thought: “ok, but I also want to do this, since it’s just a page, I can do it, also” RA: Me too. And it’s a project that deserves all the support since the profits will help a social project or entity. K: I’m curious to read what everyone did. RA: I think there will be available soon. Can you recommend three authors who always make you learn more? K: Urasawa Naoki! Miyazaki from Studio Ghibli, I have his giant book and I get a lot of inspiration from it. He has a different way of looking at life. Inio Asano, who did the Oyasumi Punpun. RA: And from outside Japan? K: I was reading Mafalda, but stopped briefly. I bought a book that has all the strips. Sometimes

I feel like picking it up again. When I read it, I keep laughing [laughs]. Another one is Adam! by Brian Basset and Blacksad by Juan Díaz Canales and Juanjo Guarnido. RA: Excellent choices. What are your plans for the distant future? Will you make the next sequel to Naruto? K: [laughs] RA: That’s it? K: That’s it [laughs]. My goal is to have a series of mine published in Japan, so I may get a regular paycheck. I’m dedicating myself to make more adult stories. Coamix is more focused on this audience, so I must study more if I want to work with them in the future. Or with another Japanese publisher, who knows ...





logo and graphics design digital marketing C


creative writting







content creation brand awareness branding conceptualisation




Gaming I must admit that ninjas occupy a special place in my heart. Just tell me that a certain series, or game, has ninjas I’ll be immediately interested. In this case, I’m happy to say that Ninjala is a very good experience!


Somewhere in the 21st century, the descendants of the original ninja came out of the shadows to form the WNA (World Ninja Association). When the WNA created Ninja Gum’s patented technology, they were able to invoke the strength of the Shinobi into the new generation. The main event of the WNA is Ninjala, a competition among ninjas equipped with weapons created with Ninja Gum tech. The participants are only the young ninja, members of the WNA. Any participation by both adults or nonWNA members is prohibited. If you’re getting curious about the backstory, all is revealed through free animated videos on the official Youtube PlayNinjala

channel. You can get additional stories sold separately from the base game.


It is in the Ninjala arena that we participate in the free-to-play battles, published by GungHo exclusively for Nintendo Switch. The good news is that you don’t need a Nintendo online subscription to play, only the access to the Internet. In addition to the free Battle Royale

NINJALA by Pablo Simas


and Team Battle game modes, you may purchase the premium Story Mode, that you can play offline.


Choosing your avatar, you start by picking one of the eight customizable base characters of the game. As you play, you’ll unlock new hairstyles, clothes, and accessories, all this by accumulating points. Alternatively, these can be purchased through the premium currency called “Jala”. But what’s a character without his weapon? This section is simple and intuitive: three weapon categories are available: swords, hammers, and yo-yo. Yes, that is correct, yo-yo. Each one has different advantages and disadvantages. Within each category, you choose from four different weapons each with different abilities and associated with a special technique, projectile, and a different ultimate. Each weapon also has a card system with which we equip our characters, and which assign certain bonuses to our actions in combat. My personal favorite is to recover lives whenever I put an opponent K.O.


Eight players are placed randomly in the arena and for four minutes they fight each other. In the Team Battle, the eight players are divided into two teams, each with a maximum of four players. Battles are fast and require each player’s full attention from the first minute. Since the objective is to accumulate points, the player or team that obtains the most points win. These

can be achieved by destroying the drones that regularly respawn, and by defeating the members of the opposing team. You have two ways to defeat an opponent: the regular K.O. and Ippon. This last one is a special K.O. that gives more points than the normal one and is activated in specific situations. For example, you can trap your opponent in chewing gum through a projectile, and then deliver the final blow. Another


possibility is to destroy your opponent’s weapon with a special attack. When entering the arena for the first time, don’t be surprised it’s really a chaotic game with a lot going on at the same time. It’s a challenge where you need your full attention during the four minutes and, even so, you’ll be surprised by attacks from where they least expect them.

STORY MODE This mode isn’t free, being sold at the Nintendo eShop. In Story Mode it’s only available the first chapter, which explores the adventures of Van, a ninja recently arrived in WNA. Events are told through animated cartoon panels before each mission begins. The story is easy to follow and full of hilarious moments. It also allows you to unlock personalization objects for your avatar. MICRO TRANSACTIONS Within the game, there is a Cash Shop where you can buy the premium currency “Jala” and use it to purchase exclusively digital cosmetics to personalize your avatar or your weapons. Here, you can also purchase the Season Pass for approximately €9.99 or 950 “Jala”. Prices vary between €2 for simple

accessories and emote, and can reach approximately €20, in the case of more elaborate cosmetic sets - these include a suit, a headgear, and an accessory. I believe paying €20 for cosmetics is excessive.Unfortunately paying a high price for customizations has become the norm in battle royal free-to-play games. TO CONCLUDE... My experience with this game has been very good. The battles are fast, each round takes only four minutes of playtime which allows me to have a brief break between day-to-day appointments. If you are not willing to purchase the Season Pass or buy cosmetics directly from the Cash Shop, you will have to face a long and time-consuming process to unlock new customization options. Since cosmetics do not give any advantage during combat, I personally prefer to wait until I have enough points to create a visually cooler avatar. It is really up to you. Any round of Ninjala is truly exciting. Adding to it the fact that it’s free-to-play makes it impossible not to recommend it to everyone!


LITTLE TOWN HERO We have decided to dedicate a few lines to one of the games that, since its launch on the Nintendo Switch in October 2019, has caused several contradictory opinions. Recently, the game was published as a physical edition for PS4, Xbox and Nintendo Switch, with the title Little Town Hero: Big Idea. We follow the adventures of Ax, a young man from a small village, whose greatest desire is to go out and see the world, even though the inhabitants are forbidden to venture abroad. A simple premise of the Hero’s Journey that accompanies countless games, books, and films. However, despite his wishes, he finds a magic stone that allows him to face the monsters that terrorize his village in a peculiar way. The stone turns his thoughts and ideas into attacks, allowing him to defend the village. From one combat to another, you learn more about the monsters and their origin, getting clues about who, or what, is at the root of all this evil. Little Town Hero was born within the Game Freak studio, known for producing Pokémon games, being one of the most recent Pokémon Shield and Sword. Within the company, they encouraged the creators to develop their own concepts and to present them to the company for analysis and possible development of a commercial product. They named this initiative the Gear Project. The game we are talking about is one of those that have received the green light, and the only one to gain a projection comparable to that of the Pokémon games produced by the company. The art is one of the main factors appealing to the game, with a color palette that

Gaming is very reminiscent of Ni No Kuni. The character design is adorable. It is worth strolling through the village and enjoying the scenery even though the village itself is emptier than you would expect considering the square mileage it has. A simply brilliant decision was that of bringing on board Toby Fox to handle the game’s soundtrack, which instills an indie gaming environment into this adventure. The game mechanics is a peculiar and unique one, capable of both pleasing and disappointing the players. It has everything to do with Izzits and Bizzits. Translating, Izzits are the ideas existing inside Axe’s head. These can be converted into Bizzits, which are used to attack the opponents. The monsters attack you with their Bizzits, which you will have to break. If we compare it with board games, Izzits are pretty much like the cards that we randomly take from adeck. The combination of Izzits gives the attack. That’s it. Although the game is being promoted as an RPG, there is an uncanny resemblance to a board or card game. I see this as if we are playing on a digital board. The whole mechanics of the game makes more sense if seen in this light. If I mentioned that it could disappoint players, it is because we depend too much on the luck we may have inobtaining the necessary Izzitsin order to win. If lady luck doesn’t help you, some battles will take a long, really long time. However, the surprise and reasoning associated with the game make it unique and interesting, enough for you to give it a chance. Little Town Hero is far from being a perfect game and had several technical flaws when released on the Nintendo eShop. Honestly, we do not know if these were corrected for the physical edition now on sale. What we do know is that it has one of the most appealing graphic environments developed for Nintendo Switch and a peculiar and interesting battle system. Little Town Hero: Big Idea should be understood as an indie game, made with a lot of heart and with a concept that would never be applied, if the idea had been born in one of the main studios. A bit risky, just enough for you to give it a chance. Play it and make your own opinion about it.

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Jankenpon Rewind #1 (ENGLISH VERSION)  

First edition of a special series of free and online magazines. Here we revisit some of the comic books stories we published throughout 17 i...

Jankenpon Rewind #1 (ENGLISH VERSION)  

First edition of a special series of free and online magazines. Here we revisit some of the comic books stories we published throughout 17 i...


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