Working on Julia III was a revelation, and in a way it was to show a revelation. At the time of making it, I found the work of Kenji Tsurata, whose work on Emanon had really struck out to me. His central character heavily resembled Julia, and his sketches that or may not be Emanon-related definitely struck me as something in her character. It felt like he had captured her in a way that no other artist I've seen, and so was set on using his work as the central piece. At the time I was making this, Julia was also cementing herself as a writer, rising up as a recognized name in her university. This was also the year she got a cat, her very own cat, so I wanted to display Mouni as this sleeping ball that walked into her life. The cats in Julia II were very much fantastical, but this is real. I was a lot more interested in creating collages that look tangibly layered, even if digitally made, and the key to that was introducing different textures, from vintage Japanese woodblock prints to more modern, paper-printed artworks. I think I succeeded, but more so I think I portrayed her rise properly. I love you, dear.