Пришла к успеху: https://www.kickstarter.com/projects/1841801090/fallen-vol-1-graphic-novel-by-ogawa-burukku http://www.inkblazers.com/manga-and-comics/FaLLEN/detail-page/2409?lang=en http://www.inkblazers.com/blogs/Interview-FaLLEN-by-Ogawa-Burukku/detail-page/7443 https://www.mangaupdates.com/series.html?id=104233 > Well, originally I wanted to do storyboarding for Disney’s Feature Animation division, and I was in fact all setup to jump right in after I graduated from SCAD, but I think it was around 2003 when the company dropped their 2D department in favor of doing lousy CG movies. I was not (and still am not) a fan of totally CG animated movies, and since at the time the whole industry was going belly-up as animation studios closed their doors and others quickly tried to master 3D lighting, I decided to go another route. In 2004 I moved to Japan and started attending a school for making manga, because all I wanted to do was tell stories with sequential art. This was just another way to do that without the end result being poopy CG puppets. > When I went to other publishers, people kept telling me I was too old… at 26. Japan likes young artists they can mold, and I have actually found that the better I get, the less interested editors have become. When I was younger and terrible, I had several bites. Now that I’m exponentially better at what I do, people tell me I’m great but don’t seem interested in giving me jobs. The fact that I’m a foreigner doesn’t help. The feedback I’ve gotten from editors (I’d say I’ve been to about 30 since coming to Japan) has always been mixed, but most guys I’ve met with have been pretty young and it doesn’t seem they have any idea what they are talking about. When I asked one guy if there was anything I could work on, he told me “Practice drawing every day.” Clearly, I’m not a beginner. Clearly I’ve been doing this for a while. But he wasn’t equipped to handle more advanced artists, and that was the best advice he could give.