#hideyoshi andou

[tamsywindsup]

All Gachiakuta manga covers till date 🔥

[shuichisdarkmistress]

the day people realize that the creators and voice actors of your shows don't owe you shit is the day I will truly find inner peace

[guhsposts]

Found peak on the floor at my school

[troythecatfish]

Holy misinformation! Son of a bitch! It's cause the higher ups are not respecting his art, he's been having issues with the way Studio Bones is changing his designs (Enjin's tattoos notably). Enjin's tattoos have very specific symbolism that Studio Bones isn't willing to recognize.

At least get your facts straight, I know the Fandom can be bad sometimes but theres no need to demonize fans when that wasn't the case here.

[fakekojimo]

Screencaps/Stitches from Gachiakuta #09. Hideyoshi Andou putting his Graffiti Design credit to good work in the anime.

For a that takes place in a literal shithole, I find the show's approach for conveying that grit and texture to be lacking-- Andou's art does its best to try and liven it up though.

[schlorpblorpo]

Patriarchy forcing us to not look up.

This piracy conversation is still unfolding and honestly? Everyone's mad right now. Creators. Fans. Co-creators.

It all makes sense. Everyone has a right to be.

But only one response aims that anger where it actually helps—and the difference reveals why we're stuck.

Kei Urana (Gachiakuta) acknowledged overseas fans face real barriers: high prices, limited access, financial hardship. She said piracy devalues work, but also said she and her co-creator are working with publishers to find legal alternatives for those who can't afford it

Her co-creator Hideyoshi Andou responded: "Shut the hell up. If you like it, just save up money and buy it, right? It's simple." He described living in a leaking house, skipping meals to buy art supplies, and said if you can't do that, "get out of that environment."

Both are validly angry. But only one is offering a future. Andou's response isn't wrong because he's male. It's wrong because it reproduces the trap: I was broken by this system, so you should be broken too.

This is how patriarchal structures perpetuate themselves. They convert individual survival into universal requirement. The "bootstrap" narrative isn't just advice—it's gatekeeping through trauma.

If suffering is the price of entry, only those who've already suffered get legitimacy, and the system never has to change. Urana's response refuses that replication. She doesn't say "piracy is fine." She says: the system is failing people, and I'm going to work on the system.

She acknowledges the same harm Andou endured—financial struggle, creative sacrifice—but she doesn't demand the next generation replicate it. She asks: what if they didn't have to?

This pattern is everywhere. Healthcare. Education. Labor. Climate. "I paid my dues" becomes "you must pay yours." And suddenly we're all so busy individually surviving that we never look up and ask why the dues are so high—or who's collecting them.

The masculine-coded response here isn't "men are like this." It's that dominant power has made this the only socially legible form of strength: silent endurance, individual transcendence, hostility toward anyone who asks for a softer path.

Urana's stance gets read as "soft" or "naive" precisely because our culture has no framework for collective strength that doesn't require someone to bleed first.

Even at my age, I remember how limited anime and manga access was. To be in my 30s and walk into a western bookstore and pick up Gachiakuta—when 15 years ago that ease didn't exist—is not something I take for granted.

Apps like Shonen Jump and Kodansha offering discounts and limited free viewings are real progress. But progress isn't the same as arrival. Urana wanting to look into how to lessen those struggles isn't weakness.

It's the only thing that actually builds a future where creators AND fans don't have to keep choosing between survival and art. Andou shouldn't have had to live in a leaking house. He shouldn't have had to skip meals. That should have been acknowledged—and changed.

The system is designed to keep the starving-artist persona alive because it feeds off constant struggle. It needs people to believe their wounds are proof of worth, not proof of failure.

Folks calling her racist for this are wild. The racism is in the pricing structure, not the person pointing at it. This aims anger sideways so nobody looks up while ignoring the corporations who built those barriers is exactly the misdirection this system needs.

We don't need more people who survived the system. We need more people willing to say: I survived, and now I'm going to make sure you don't have to.

[tangosfxx]

it has been finished. (if anyone wonders, i had posted a wip version of this a while back)

fu / hii next hehehaha

READ GACHIAKUTA

[maguros-scribbles]

GACHIAKUTA HEADCANONS

i like to think that all of the graffiti on the ground looks similar cause Andou is actually canon.

He lived on the groud long ass time ago and was widely regarded the best graffiti artist ever.

Everyone loved his art and was copying his style n thats why all the graffiti on ground is in the style of one person