[3-Gatsu no Lion Volume 16 Extras Translation by Kewl0210]
172 and 173 and 174 were combined to just 172
Old 175 is now 173
Old 176 is now 174
177 and 178 were combined to be the new 175
Old 179 is now 176
Old 180 is now 177
Old 181 is now 178
182 and 183 were combined to the new 179
I'm not gonna go over any visual changes because there's too many to list. But any time text now covers some visual thing we may want to move it.

We may want to add the larger versions of the "Azusa training" panels from the magazine versions because they've seemingly been relegated to little thumbnails in the spacer-pages.
I put these in a folder called "Extra Pages from Magazine Version" inluding the color pages as well.

Author Flap:
A Recent Photo of the Author ('s cat)
Ding-dong!
Hellp, it's Bun! Today I've delivered flowers to everyone out there doing their best!!
On hot days, drink water and stick in the shade. On cold days, make sure to put something on and put something around your neck and stuff.
May everyone out there spend their days taking care of their bodies.
I think sleeping in a bit is good so if you like that sort of thing, I think I recommend it?
I'll bring some flowers again sometime!
From Bun

Page 5:
Shogi Supervisor
Senzaki Manabu 9-dan

Page 6:
Contents:
Chapter 167 Winter Sound of a Bell
Chapter 168 December Rain ①
Chapter 169 December Rain ②
Chapter 170 New Year ①
Chapter 171 New Year ②
Chapter 172 New Year ③
Chapter 173 New Year ④
Chapter 174 Winter Scent ①
Chapter 175 Winter Scent ②
Chapter 176 Winter Scent ③
Chapter 177 Winter Scent ④
Chapter 178 Path ~ Path ~ ①
Chapter 179 Path ~ Path ~ ②
Bottom: This is a work of fiction. There is no connection to actual people, groups, or events whatsoever.
T/N: Several of the magazine versions of these chapters were combined into single chapters for this volumes. 172-174 -> 172, 177-178 -> 175, 182-183 -> 179.
[I figure that note may be worth putting here to prevent confusion.]

Page 8:
Handwritten: Mikazuki-dou
Fukufuku Christmas
Custard Anko
Caramel and Cream
HO HO HO

Page 9:
Narration: In that schoolyard once covered in the gold of the ginko trees, [They changed this to be the gold of the leaves rather than with the golden trees/leaves.]
now only the grey of the school building remains. [The "muted" part was removed.]
Whenever we enter December, [This was made a separate line]
it always feels to me like winter has come out in full force. [This line was just way shortened.]
-----And while trees are sparkling
and jingling bells are ringing all around the city, [This line was severely shortened and they took out a clause about happy melodies.]
in here, there's a tense feeling in the air that won't warm up
even with the header on full blast. [This part was moved to the left of the jingle bell lyrics]
[Also note some of the jingle bell bubbles moved, but they have the same text.]

Page 11:
Handwritten: Haha... [With the little Hayashida face.]

Page 14:
Rei: but I feel with certainty
that a place where that pain doesn't disappear easily
must also
have some small meaning.
----So I decided I'll carry it for a little longer...
---until a day comes when
I won't remember it anymore
without ever trying to forget it... [This is just the inner-monologue lines. They're changed a bunch and simplified to be a less maze-like sentence.]

Page 18:
Black: Senzaki Manabu's Lion Shogi Column
AN ARTICLE BY SENZAKI MANABU
Title: The Day One Decides to Become a Pro Shogi Player
Article: 	The time that pro shogi players enter the Shoureikai (the shogi training league) and decide they're going to start the training to become a pro shogi player is in elementary or middle school. So of course first you need a strong personal will to do it, but also it's something that is decided upon only after discussing it with your parents and/or other important people in your life. A long time ago, there was a sense that half of those seeking to go down the path of shogi would abandon schoolwork in general. And consequently, getting any kind of regular job. But nowadays, there are many in the Shoureikai that stay in school all the way to university so perhaps the hurdles needed to clear in order to enter this odd world of shogi have lowered some what over time.
	To get very real for a second, there are two general paterns for how one enrolls in the Shoureikai and becomes a pro shogi player. The boys raised in the city or the boys raised in the country.
	For the little geniuses that are born and live in the city, of course it's easy for them to commute to regular meetings at the Shoureikai twice a month not far from their home. By the time they're ready to enter they probably already have a master or if not they can find one easily and it is generally no trouble to enroll in the Shoureikai. Also it's not uncommon for kids who live in the city to go to elementary school tournaments. In such tournaments, they naturally have many opportunities to play with other boys with the same sorts of talents they have, they become friends with fellow children and sometimes adults, and naturally form a community. It's really an environment where it's easy to enter the pro shogi world.
	On the other hand, that sort of thing is not true for children in the country. First, there are very few shogi halls. Though I suppose there aren't many in Tokyo or Oosaka, so maybe that's a more general unavoidable issue, but the major problem is the difference in the number of tournaments with more urban areas. Because of that, it's much harder to play serious matches against elementary and middle schoolers of the same level as you.
	First, one would need to enter a small children's tournament in the country and win, but also win decisively. Then, they would need to enter adult tournaments and still get a high placing---- At which point people will naturally start thinking that child is a shogi genius. But here, they hit a wall. Depending on your location, it may be difficult to travel to Tokyo twice a month. And it's not easy for an elementary school child to be doing that alone so their parents would need to come with them so then the circumstances of the family become involved. And to be honest, there's a financial aspect to it as well.
	Generally speaking one only lives alone after they've graduated high school, yes? And the concept of pupils living in the home of their master is pretty much gone. There are lots of cases where shogi hopefuls have run into one of these obstacles and had to tearfully give up on their dreams.
	By the way, the Kenshuukai (training workshop) is a sort of subordinate organization of the Shoureikai and used to only be in Tokyo, but it's now found all over the country. Boys can polish their skills here which makes for a better environment for enrolling in the Shoureikai. But after you enroll, it's up to you. And having a large burden on your household is just how things are. The difference between the country and a large city in the shogi world is a lot like the differences with university entrance exams in the question of whether to go to a local university or to aim for Tokyo University.
	The fact that that has to be decided when one is in elementary school is one of the odd things about our world. After all, the person the decision is about really just wants to play the game of shogi they like so much....
	Even with AI and the Internet becoming so pervasive, it hasn't changed the difficulty of knocking on the door of this harsh world.

Page 31:
Yes, the president is coming. [This line was simplified.]

Page 32:
Handwritten: Tama-chan

Page 38:
Narration: 'I'm sorry, but could you look somewhere else?' [This line is the same but split from the next line]

Page 39:
Narration: Lucily, my home is old, but large.
Not needing to worry about rent and utilities must have been important for Tama-chan. [The lines are the same but this was split to have the second part of it in the middle of the panel.]
[The bottom left two lines were shifted down slightly but I don't think we need to do anything different in the scanlation since we were already doing that.]

Page 44:
[They changed the President's line here but basically our line already sorta works so I'm leaving it. Instead of saying "They're beyond unpopular" he just says "Yeah, honestly!" So the "Childish as all get-out" we used works.]

Page 45:
Black: Senzaki Manabu's Lion Shogi Column
AN ARTICLE BY SENZAKI MANABU
Title: On Genius
Article: 	Genius is a word that is used frequently by people in the shogi world (by fans). After all, it's a competition where one uses their head and can sit for an hour staring fixedly at a board simply thinking. I suppose the word genius seems to be an expression that fits a world where one uses their intellect than does the world of sports for example.
	So then, shogi geniuses... Who could that apply to? But before that, what even is a genius?
	It's easy to give this name to shogi players that generally win or have large accomplishments under their belt.
	Kimura Yoshio, Ooyama Yasuharu, Nakahara Makoto, Tankgawa Kouji, Habu Yoshiharu, Fujii Souta. Though Fujii doesn't have as many accomplishments as the first five quite yet. Though this is an informal evaluation so essentially, everyone considers him to be a genius who will become a great shogi player like the other five. Please look into the magnificent histories of these players. So, let's take a look at what unique things they each brought to the board.
	Kimura-sensei had an exceedingly sharp shogi game and outstanding incisiveness and technical skill. At the time, there were many players who saw shogi as a game to be played in a relaxed and tenacious way, wherein he brought the sensibilities of refined attacks and such. He rarely if ever maneuvered his pieces badly.
	There was a real beauty you could sense in pre-war shogi. It really is a pity there was a war.
	After the war, Ooyama-sensei broke through Kimura-sensei. In his young days, Ooyama-sensei has some incredible offensive shogi. The moment he noticed a gap in his opponent's game, he'd plow right through it. Though he didn't have the kind of sharp attacks like Kimura-sensei, he would have profound small punches he'd pummel his opponent with one after another.
	Shortly after he became Meijin his play style changed. He specialized more in defense and countered his opponent's approach. One amazing thing about Ooyama shogi was how intensely he would widen his lead the moment he got it. If the opponent flinched, he'd force his way in. If you got impatient, he dodged. If he got the lead, he couldn't make a mistake. But he'd do it in such a subdued way that at a glance you couldn't tell he was a genius.
	Nakahara-sensei didn't use the sort of tactics Ooyama-sensei used. His shogi was the mainstream of mainstream. His openings were so good and his mid-games were so strong that he rarely got to the part of the game where he could really show off his skills. He was a genius at gaining balance in the mid-game. He's without a doubt the player with the fewest bad moves in history.
	Tanigawa-sensei's strong points were something anyone could tell the moment they watched his game. He was a genius at the endgame. In the age of AI, shogi has become more homogenized to the point where you don't see a player like him that can express such beauty through their moves.
	Habu and Fujii... how about we leave them for later? It looks like I've put more weight towards the big shogi players from long ago.
	Even for those I couldn't discuss here, they have their own uniqueness and genius talents. The shogi world is a place where those that the unique things of those that win go down in history.


Page 49:
Handwritten: Earnings [This was added]

Page 51:
Handwritten: Like for when we're eating and stuff. [Added in the center]

Page 55:
Handwritten: After that, the luxury levels of the potato chip pile continued to evolve...
Until finally there were three types of piles in the tray.
Chocolate-covered barley puffs would be sprinkled as a toping over the infinite potato chip parlor...

Page 60:
Akari: Something like 70 or 80 percent of those potato chip bags are just air, aren't they...? [This line is just changed very slightly.]

Page 63:
Hina: We haven't done end-of-year kirizansho
ever since grandma and mom died. [This is simplified slightly.]

Page 65:
Rei: has got to be that sort of image. [They changed "feeling" to "scene/image" here.]

Page 66:
Handwritten: A new traditional Japanese confectionary Momo came up with.
Squirrel chestnut buns [Squirrel white]

Page 70:
Hina: ...Um,
when I graduate, [She removed the words "Rei-chan" for some reason.]

Page 72:
It's just like... 'This is totally different!!' [Last line]

Page 73:
Hina: Every time we put out the stand [Top middle line, changed from store.]

Page 78:
Rei: If theoretically I did end up like that?
That guy who says things like, 'It's all your fault, you know.'
Or gave off an attitude like that to make you feel guilty,
then I'd be a seriously bad guy, right?!! [This is reworded slightly.]

Page 80:
Rei: ---Learning the warmth
and drowning in happiness
like a boiled frog,
and then vacantly
and recklessly just facing down
that approaching darkness,
believing I have to solve it on my own in a panic
but not having the means to do so.
---But [Slightly reworded.]

Page 81:
Rei: that it doesn't want what I've done
to go to waste... [This line was split into two lines.]

Page 87:
[they moved the text so it's not on top of their hands now.]

Page 94:
The year before last, our record was 8 hours and 40 minutes. [They changed 35 minutes to 40 minutes. I think to match the text on the box, which makes sense.]

Page 97:
Rei: ... [Added on top left]
Rei: ...... [Bottom]
Rei: weighin on my mind... [They added an ellipsis at the end.]

Page 98:
Rei: Oh, you have a point!!
Yeah, that would be a huge help!! [These two lines were swapped for some reason.]

Page 104:
Black: Senzaki Manabu's Lion Shogi Column
AN ARTICLE BY SENZAKI MANABU
Title: On Shogi Players at New Years
Article: 	From the end of the year to new years is the time when pro shogi players have the most free time. Since they don't have any matches to play. On New Years Eve and the first three days of the year, a section of star players join some sort of event, but there's only 10 or so total players doing that at most. So then, what do all of the other players do?----They loaf around their house... Oh dear, I guess the article is over.
	As someone with a family, I generally find just spacing out at home to be boring. So every year at my house, we have a new years event. On the 2nd day of January, we get people together to play go and shogi and drink and have a good time. Naturally, since a lot of friends of mine are bored at home they come over in a big group. Just so you know, my house isn't particularly big. It's the sort of normal-sized house you'd find anywhere. And there, in that normal-sized house, I have around 30 people coming in one after another. Both male and female players bring their families and that whole sort of warm spectacle is how my New Years time feels... And then when all the groups who bring their kids leave... then the drunken debauchery begins.
	Er, well we do drink a lot. I'm a heavy drinker so I tend to attract the same type of person as friends, the kind that drink themselves stupid, and also we have no plans the next day so we just go to town.
	Also, I have a fully-automated mahjong table at my house so we play mahjong a lot, too.
	One New Years, a young female league player in an unsteady manner ended up playing mahjong. That female league player at one point discarded a 'North' tile that was the 2nd tile from the right of her hand. In mahjong it's normal to put your 13 tiles together in a row, so when you do this, a skilled player can predict that the other tile at the far-right of that hand would also be a 'North'.
	Immediately after that, a young player called 'riichi'. And then the young female player, figuring that tile was safe to discard, played the other 'North'..
	'Ron! I knew that was coming!' (Haha.)
	He was looking at her hand and aimed right for his moment to strike!
	We said to him stuff like, 'Cmon! It's New Years, what're you doing using tactics like that against young beginner players that've only ever played family mahjong?'
	'Well, it's a competition.'
	These are the kinds of stories that go well with drinking.
	After all this time-killing (which is what all of that is) the first day shogi players tend to have actual plans is January 5th. Every year on this day (sometimes not on that exact day) is the Start-of-Play Ceremony. We visit the shrine located in front of the Shogi Association building and we do a sort of refined shogi game where we each make one move each and then we all have a party... That event is ostensibly meant for entertaining and welcoming people who work for sponsors and reporters and that sort of thing, but I think it's hard to deny that it's an opportunity for the shogi players to drink... So, there you have it. That's the general state of affairs for players from the end of the year to the beginning of the new year.

Page 107:
Black Bar: I just reached the top floor
and it's quiet, like a park in the middle of winter. [Reworded slightly.]

Page 110:
Rei: and have an odd quietness. [Reworded]
[The "---Both them, and myself" line is removed entirely.]
[There's another line changed on the bottom but my original translation already works.]

Page 111:
Rei: It was a feeling like [Change to the top middle line.]

Page 114:
Handwritten: Kukuku [Next to the evil shogi board.]
Handwritten: Geez, that guy. [On the bottom left line]

Page 115:
Shimada: Yes, it is! [The text is much bigger, replacing the "it is special" line.]

Page 118:
[There's some moving of それに here but my original translation already works for this so I'm leaving it.]

Page 124:
[They removed a 為に but the original translation works.]
Hina: the way mom and Grandma did!! [Only difference is the !!'s.]

Page 125:
Grandpa: Awawa... [I think we missed this in the original scanlation.]
[The "have a secret plan" line at the end is a lot bigger now.]

Page 126:
Aunt: Knowing Akari-san, it will be managed prudently and wisely!! [The only difference is a !! is added here.]
That's my prediction based on surviving in Ginza for a quarter of a century!
Handwritten: I'm certain of it!! [She moved the end of the line to being handwritten so now it needs to be two sentences.]
Handwritten: Darn, ya caught me. [This was a regular typed line and now it's handwritten.]
Aunt: You never disappoint, Dad. [And this one is entirely added.]
Make the receipt out to Misaki!! [Added a !!]

Page 128:
[She removes a ってこと in the line in the center left but the original translation works.]

Page 129:
Handwritten: ...Yes... Good... [This was added on the left]

Page 130:
Aunt: I could have a 'future meijin' as a much-younger little brother?! [Reworded]
[The font changed to be more bold for "Hey hold on you two" and "help me, mom, Grandma!!".]

Page 132:
Akari: ...That means not telling Hina either, okay?!! [Added an ellipsis.]

Page 135:
Black: Senzaki Manabu's Lion Shogi Column
AN ARTICLE BY SENZAKI MANABU
Title: On Hard Fighting Central Hishas
	The strategy of moving the hisha that started on the right to the center and moving the gyoku to the right is called 'central hisha'. It's a very popular strategy that's frequently played from beginners to players with dan ranks.
	But to tell the truth, until about 20 years ago, it wasn't a particularly popular strategy at all. It would frequently end its user up on the defensive, and amateurs who tend to like going on the offensive would keep their distance from it.
	The thing that changed that all at once was the appearance of the strategy where one does not mush their fu on the kaku column, the "Cheerful Central Hisha". Or "Cheerful-Central" for short.
	Oookay, okay. Everyone, if you think a lot about this name, it seems a bit strange, doesn't it? Why is it 'cheerful'?
	A certain young pro shogi player was deeeeply connected to this. I fear I've kind of gone all over the place in my writing here, but please allow me to do so one more time.
	This young shogi player, Kondou Masakazu-kun, was a newly-minted 4-dan at the time. He's middle-aged now, but at the time he was quite lively and vigorous and had just one over 10 games in a row in his heyday. That was when he was using the Cheerful-Central to rack up wins.
	Though any winning streak eventually comes to an end. The one who stopped him was Habu. The next day, Kondou-kun came to the Shogi Association executive office. He was a young 4-dan, so he was still doing just fine the day after a loss. He said cheerfully, 'It's like if a no-name team from out in the country went up against PL Academy at the national baseball finals at Youshien stadium. Then they pitched a blazing fastball and it was knocked out of the park.' Then he did a mock swing of a bat and slumped down on a chair.
	There was an amazing coincidence there. At the time, the editor-in-chief of 'Shogi World', an author named Oosaki Yoshio was there with me and we were just discussing what would be a good name for this type of central hisha!
	'Well, that cheerful Kondou-kun is the one using it so let's call it the Cheerful Central Hisha.'
	And now, even after 20 years has passed since then, I've never encountered something we printed that matched our opinion and permeated to fans as much as what we printed in that month's issue of Shogi World.
	However, what made this attack strategy take hold was that many players recognized it as a good method of play and started using it in official matches.
	At the time, gaining the initiative in the opening had rose to be exceedingly important. One isn't able to do that with a normal ranging hisha, which could easily end them up on the defensive. Also it would be all the worse if the excellent strategy of static hisha anaguma was used against you. The strategy that was able to solve that dilemma was the cheeful central hisha. It seemed not so good in theory, (Even now, AI's tend to evaluate it low.) but it's easy to win. Players were attracted by that point.
	The cheerful  central hisha itself was played before that point. Players that liked power battles used it. But it was Kondou-kun who deftly perceived the characteristics of the new era's central hishas and created a system to combat it was Kondou-kun and then many other players.
	Because of how it brought the importance of seizing the initiative and attacking to be seen in a new light, this strategy really went down in shogi history.

Page 138:
[the "when I entered this year" text is shifter to the center of the black bar.]

Page 140:
[The "I want to see her" line is moved to the center of the page and slightly bigger.]

Page 141:
[The "I want to see her face, really badly." text is moved to the lower left.]

Page 144:
[There's a line where they removed 鍋をbut my translation doesn't mention that already so I don't think it needs a change.]

Page 152:
Rei: There may be times when I can't respond immediately when I get it. [Reworded.]

Page 154:
[The black bars are reworded slightly but the original translation works for both so I think it's fine.]

Page 155:
Rei: and a menu for the stand in the spring festival.
[The "shifting elsewhere" line is different but the original translation is fine.]

Page 156:
Guy: If you don't take time to digest properly, you'll see it in your dreams! [They fixed the bizarre use of dreams twice the original had.]

Page 157:
Handwritten: I should be fine!! [In the "I've made it this far" bubble.]

Page 165:
Someone: It's true we haven't been able to get along in the past, [Reworded, line on the middle right]

Page 170:
[The "Nikaidou rises into the sky" line is shifted upwards slightly due to the repositioned "the end" text.]

Page 171:
Black: Senzaki Manabu's Lion Shogi Column
AN ARTICLE BY SENZAKI MANABU
Title: On Static Hisha Power Battles
	To give an encyclopedia-style introduction to the static hisha strategy, I'd say they fall into five general categories. Yagura, kaku exchange, side fu capture, gangi, and double wing attack.
	Oh, and there's a reason for putting them in that order. The farther down that list you get, the higher rate of it being a power battle rather than a research-based match.
	Yagura is a traditional strategy. It's widely liked and has the nature of the sente having to decide on their formation first allowing the gote to be able to get in an attacking position. So it's not bad, but because it's so old, it's very easy to research every last form of it.
	In a kaku exchange, there's always a battle of force from the midgame onward and the opening is all about deciding your formation. Because you both end up with a kaku on your piece stand, either player can place a kaku on the board at any time, so you're never free to make a formation then. On that point, it really feels like you can't call it a hard-fought power battle. Also it's a type of shogi where research is very important, so these days where your opponent may have spent tons of time preparing against it by playing against AIs, it can be an insecure strategy to use, and also far off from being a power battle.
	So far we haven't had any static hisha "power battle" strategies. But the remaining three you could definitely say are in that group.
	Side fu capture is a peculiar strategy. Right after the start, you go down one of your fu on one side of the board. One of the biggest general rules of the opening is not to lose pieces, so this strategy ignores that theory. In exchange one grabs the initiative and attacks. It's a harsh formation, but attack and defense are split up with clear distinction so it's unlikely the players end up locked in a grapple, which is why it's only ranked third in terms of power battles.
	Okay, next is gangi. This one isn't as well known. You make your formation quickly, but that formation is exceedingly flexible, so there is a large variety of how to play this. Which then easily allows for clashing against each other with force.
	By the way, for players who fundamentally always play ranging hisha reach their limit and play static hisha, this is frequently what they use at first. Probably because of a sense of ease from not being stuck with doing tons of research.
	The last one, the double wing attack, is the strategy that most often ends the player up in power battle. Not only among static hisha, but among all shogi strategies, this one is the one that most easily ends up in a battle of force. It doesn't so much become one, but rather the formation itself already is one.
	Just a slight impetus can cause it to become a violent battle. And if that passes, it turns into a long war of attrition. And every time, the shape it takes is a bit different, allowing for high levels of freedom, but being very difficult...
	There's good  reason that Yamasaki Takayuki, the player most known for his confusing melee battles, likes the double wing attack.
	 Freedom is never easy. It causes pain to the player who uses it. In that way you could kind of say the same thing about human society. So on that somewhat highfalutin note, I end my super-specialized explanation.

Page 176:
SFX: SUH...

Page 177:
5-6 Fu!! [Big text added on the bottom right.]

Page 180:
Black Bar: ------I've
always been worried about it. [This line was split into two lines.]

Page 185:
[There's no text change here I just wanted to point out she redrew the ENTIRE cliff background here. Most visual changes in this volume were like slightly redrawing some tiny background element or facial feature.]

Page 187:
Nikai: if it were me...
If it were me, I'd...!! [The second line is added. He says the same line twice so I'm adjusting it here so that flows.]
Yes, yes, "I'll take the recovery!!"
I'd answer in 0.00001 seconds! [These two lines add !!'s.]

Page 191:
Handwritten:
To everyone that had a hand in making volume 16
To all those in Umino Village, thank you!!
To Nawata-san and Senzaki-sensei
To Toppan Printing
To Komiyama-kun for everything in Kyoto
To Shinkosha
To everyone at the Animal Editorial Department
And to all of you out there that read this series to volume 16,
thank you so very much!

Page 192:
Umino: Hello, this is Umino! To those who've made their way all the way to volume 16 of '3-Gatsu no Lion', I'm so happy to be able to see you again!!
When volume 15 came out, I never imagined that the work of drawing volume 16 would be done in a world totally different from what it was before.
Handwritten: I received the Japan Media Arts Festival manga diction grand prize.
I'm so, so happy. Thank so so very much.
Umino: To avoid being too close to each other, the Umino Village also went completely remote.
My chief assistant compiled together my analog manuscripts and send them to everyone
where they all did work at their respective houses.
SFX: GARAAN...
Umino: Wearing masks, washing hands, and repeatedly disinfecting and always keeping distance from everyone...
Without end. Always the same.
In fact, I was released from the panic of occasionally going out my front entryway and making contact with the outside world.
My sitting-time reached its highest ranks in my entire life as I filled my days with constant drawing.
Handwritten Bottom: FGO Part 2 Chapter 6 was a truly wonderful story. It resonated with me in a way that I don't think it will ever leave me...
Umino: ----And born in that was him. Faerie King Oberon.
Top Text: *A character in the Game Fate/Grand Order.
Handwritten: You sure are behind on your work, huh?
Er,
that's a compliment.
90% of people may hear that as a snide remark, but...
It's true, though.
Umino: Right when my work on the FGO game was on the verge of its climax
my long goodbye to Miura Kentarou-sensei arrived.
They were days where I was constantly hearing the sound
of huge doors of a story creaking and quietly shutting.

Page 193:
Umino: 'I started a new job on a game. I also started studying how to do drawing digitally for this. But it's really hard... What does Ken-chan use?'
I figured I'd talk all about it with him once it was announced, but it seems he won't be able to hear me talk about it for a while.
Handwritten: The fairy picture book he lent me helped me a whole lot. I'll always treasure it.
Umino: In this volume, Souya's house in Kyoto appeared for the first time.
From the time I took the photos I used as reference materials for it, it took the story 12 years to reach the point where I used them.
Handwritten: It's the house of my then deputy editor's grandmother's house.
Even now, those moments come to mind for me like they were just the other day.
It's strange.
When over 10 years have actually passed in real life,
it feels like only the amount of time that's passed for Rei in the story has gone by.
If it's December in the story, then even if it's spring in real life, I'd find myself muttering things like 'Man, the year's over already, huuuh?'
Handwritten: End of the year already, huuh...?
Umino: I think that's kinda funny.
Handwritten: *It's actually March (spring)...
Umino: But unlike how it feels to me, time really is flowing in real life.
My hands and face are getting wrinkly and feeble.
Hanwritten: Mom likes bread.
La laaa
laaa
An easy-morning toast set I'm delivering to Mom.
Umino: But for what's inside, growth is slow.
The repeating pattern of trying something new, crying, getting depressed ----then trying again and practicing never changes.
I think of my works as things I put in bottles and send adrift to sea like letters.
I have the utmost gratitude to all of you who've received it.
I hope very much that we meet again in volume 17.
Handwritten: F*rby
Bun-chan
The Ch*ld