Our Author

RIZKI MUSTHAFA ARISUN (Musatorizuki)

Born on November 9th, 1983 in Jakarta, Indonesia while it's still being a capital. Blood type A.
Greetings, here's a bit about myself and Altaira Soldiers.

... Youri, Taura, Geiami, Kanichiro, Leonard, Virginea, Olbrian, Scorpie (^_^this is me), Sagrie, Caprozan, Aquario, Phiasca, let's proceed, ATTACK!!!

1998

• Forgetting the early part of the year, particularly May, is something I desire. During that time, Indonesia was in a state of turmoil due to riots and political instability caused by a loss of trust in the Indonesian regime. Nonetheless, amidst these challenges, I strived to learn. Ebtanas!! My high school years in Jakarta saw the publication of one or two magazines dedicated to the latest anime and video games. Finally, there was a reference to the Japanese animation industry. In terms of my musical endeavors, I found myself more involved with a band, although my actual participation in playing was limited. It was during this time that new songs were created with the objective of recruiting members to play the original soundtrack for Altaira Soldiers.

• My leisure time often involved playing Sega Megadrive games and PlayStation at my friend's house. Occasionally, these generous friends entrusted me with their consoles, allowing me to enjoy them in my own room. Moving to a new English course and adapting to the life of a high school student added a distinct flavor, even after the May riots. It was during this period that I had my first encounter with the internet, which significantly boosted my habit of seeking references.

1999

• The journey of improving my drawings began as I sought guidance from tutorials provided by "Hoplaa" and later from "Animonster" magazine, alongside other similar publications showcasing anime illustrations. These resources aided me in refining anatomical details and enhancing various aspects of my artwork. Despite an influx of ideas flooding my files, selecting the perfect one for Altaira Soldiers proved challenging due to their sheer volume.

• My deep involvement playing with my own band "Oriental" inadvertently cultivated a heightened appreciation for the UK band we cover, "Oasis." Subsequently, I became aware that Altaira Soldiers predominantly reflected a more Western storytelling style, influenced by my continuous English lessons over the years. 

• Despite the presence of characters like Kanichiro and Geiami, who symbolize Japan, I observed that within this year's story development, they remained somewhat confined to clichés.

• Although the illustrations were crafted in a manga style, I encountered difficulty in delving deeper into creating a meaningful and emotionally resonant storyline.

2000

• Sagrie, also known as Sag o Thar, transitioned into a female identity. This change was motivated by a desire to include more female characters in the Soldiers' roster. 

• The sketchbook and numerous drawings created from 1996 up to the present year have been repeatedly redrawn, often requiring erasure to make room for newer drawings. This level of perfectionism may have occasionally impeded progress throughout the entire history of the Altaira Soldier's work. However, it has also provided a sense of achievement.

• Increasingly, I have been composing songs influenced by Brit-Pop and folk vibes reminiscent of The Beatles and Oasis. Songs like "Truth," "Shiny," and "Burning Clouds" were born this year. I started recording songs by using a friend's keyboard and tapedeck, saving them as MIDI files on a floppy disk.

• My father is unwell and undergoing treatment for cancer, receiving chemotherapy in the hospital. To cope with this challenging time, I often found solace in Japanese OST music and the creations of the Altaira Soldiers. They became a sanctuary for me while looking after him in his hospital room.

2001-2003

• The journey began to face obstacles due to personal conflicts, primarily triggered by the loss of my father in May 2001. I struggled to confront challenges effectively, often feeling mentally clouded even during positive moments as a new student at the University of Indonesia. My relationships with what I previously considered 'friends' remained ambiguous. However, despite these challenges, I made efforts to maintain involvement with the Altaira Soldiers.

• In 2002, I attended Machiko Sensei's workshop at The Japan Foundation event, as reported in the Animonster tabloid. This year also marked a small revelation for me when I purchased a new computer set (Pentium III 256MB RAM, 32GB storage, Windows ME). By 2003, I saved up enough money to acquire a mouse-pen for digital drawing and started creating music on the computer, along with purchasing a printer.

• I dedicated myself to composing more MIDI songs for the Altaira Soldier's original soundtracks. However, my commitment to this project began to wane as I became increasingly involved in other activities. The year was filled with numerous cultural festivals, fostering the Japan-Indonesian relationship and leading to cultural celebrations across hotels and campuses. I eagerly participated in various performances, including Yosakoi Soran, Wadaiko in Oedo Sukeroku style, and finally, a Covering Band where, this time, we performed Japanese songs.

2004-2006

• In early 2004, I became fascinated by an old RPG game from my childhood. Despite my limited skills until 2003, my dedication paid off this year. My passion for Final Fantasy games, specifically FF I, FF II, and FF III emulators for Nintendo classics ROMs found online, greatly influenced me. The captivating stories and music were truly remarkable! Hironobu Sakaguchi-san, Yoshitaka Amano-san, and Uematsu Nobuo-san became my inspirations and mentors from afar.

• In April 2004, I joined the band Amakusa! Spending time with these individuals while they performed legendary songs from Japan's Metallic era added a "metal" touch to my life.

• During this period, I began exploring gothic and lolita ideas, which significantly impacted the creation of female characters in Altaira Soldiers. This influence stemmed from my engagement with www.deviantart.com, where I discovered numerous amazing photos. Additionally, bands like Malice Mizer and, of course, X-Japan further influenced my aesthetic exploration.

• In the same year, I started consolidating the scattered concepts from Altaira Soldiers into a novel, focusing on enhancing the plot and theme. The conclusion remains speculative. However, as I completed my bachelor's thesis, I welcomed more ideas, incorporating traditional Japanese music and animistic deities into the story, particularly centered around Chuureimura and Kaniike.

• Leaving RH for good and decided to let her go. Despite dating another lover by the beginning of 2007, time allocation remains constrained due to work commitments. This scenario also applies to the Altaira Soldiers

2007-2010

• I resigned from my position at Amakusa and relocated to Cikande, Serang for employment purposes. 

• I commenced the NEO PION PROJECT towards the conclusion of 2007. Subsequent to the NEO PION project,...

2010-2020.

• Despite facing various challenges including changes, a decline in artistic skills, and recurring episodes of artblock, I persevered in consistently delivering additional production materials ahead of schedule. Between 2009 and 2010, I actively participated in the Teater Sastra UI trope, contributing soundtracks, collaborated with On-Project, expanded my knowledge of DAW and VST-based song composition, while attempting to dedicate time to Altaira Soldiers amidst the shadows of NEO PION. Unfortunately, efforts that went awry persistently resurfaced.

• In 2013, my marital life with Ai-Chan began, creating a surreal experience as the relationship between Scorpie and Cindy came to fruition. However, there were ups and downs, especially in my involvement with Altaira Soldiers. Taura remained a part of the past, yet I found solace in maintaining a cordial friendship with her husband, who became a good companion during reunions within the SMP46 neighborhood.

• I pursued a major in Cultural Studies and enrolled in the FIB Literature Dept.'s master's program from 2013 to 2016. During this period, there was significant popularity surrounding Hatsune Miku and the VOCALOID community. The nickname "MUSATORI" gained recognition from public, notably after my involvement in translation work for MIKU EXPO 2014 and youtube uploads.

• To maintain coherence within the narrative, my story integrates elements from Saint Seiya and various classic series such as Gundam. I am acknowledged for academic contributions, including articles and lectures on Japanese popular culture.

2020-Today

• The world witnessed a notable shift in communication methods as the pandemic struck in March 2020, ushering in rapid transitions to online platforms. Amidst creating illustrations, there emerged new opportunities for introducing the Altaira Soldiers on Youtube. However, publicly sharing the narrative remains precarious compared to the past due to conflicts arising from copyright issues. Safeguarding this intellectual property demands careful consideration.

• During my involvement with a writing club, several transformations unfolded in Kanichiro, notably an increased participation of girls within the team.

• Between 2021 and 2022, broadcasting became somewhat more accessible, and I regret not capitalizing on that opportunity due to the ambiguity in Youtube's policies and distractions from teaching responsibilities, resulting in the challenges faced in fulfilling XLTV.

• My visit to Japan in 2022 was enlightening, as many false assurances were replaced with actual realizations. Traveling from Katsushika's hometown Takasago to Kyoto International Manga Museum, Hakone's Ashinoko Lake (known as Tokyo 3 in EVA), Odawara Castle, Hokusai Museum, Tamashii Nation, Akihabara's Chuo Doori, Fujiko F Fujio Museum, Unicorn Gundam in Tokyo Diver City, Kurata (Minami Koutarou) Tetsuwo-san in Toyocho, and finally, Tokiwa-Sou, was an attempt to rediscover and capture the essence of manga creation. With the support of Google Sites, I aimed for improvements. Nonetheless, I remained keenly aware that sustaining this entire journey was essential, or else it would fade away in futility before my departure from this world.

• ATTACK, SOLDIERS!!

In the dimly lit corner of my cluttered studio, the years of my artistic journey unfolded like a tattered scroll, each chapter marked by a struggle to grasp onto a style uniquely mine. It all began in the distant echoes of 1994, a time when I eagerly dipped my brush into the colorful palette of American cartoons and the enchanting realm of video games.

With every stroke, I attempted to emulate the vibrant energy of those animated characters, their exaggerated features dancing across my canvas. But as swiftly as they appeared, my creations felt hollow, mere shadows cast by the brilliance of their inspirations.

Year after year, I wandered through the labyrinth of artistic expression, seeking solace in the works of masters who came before me. In 1995, I found myself captivated by the liberating strokes of Tezuka Osamu, his style a beacon of artistic freedom amidst a sea of conformity.

Yet, just as quickly as I embraced this newfound path, the allure of Akira Toriyama's Dragon Ball manga beckoned me forth in 1996. The dynamic lines and expressive characters drew me in like a moth to a flame, igniting a passion that burned fiercely within my soul.

In 1997, the floodgates opened wide as I delved deeper into the mesmerizing world of manga, exploring the intricate works of CLAMP, Kazuhiko Tsuzuki, and Tatsuya Hiruta. Their unique styles intertwined with my own, weaving a tapestry of influences that shaped the very essence of my artistic being.

Each passing year brought new revelations and challenges. In 1998, I found myself enraptured by the timeless allure of Dragon Ball and a myriad of 80s OVAs, their nostalgia-laden imagery fueling my creative fervor.

By 1999, my journey had led me down a path lined with the intricate linearts of beloved anime series such as Trigun, Tenchi Muyo, and Slayers. I reveled in the meticulous precision of their designs, striving to capture every detail with unwavering precision.

And yet, despite my efforts, a lingering sense of dissatisfaction gnawed at the edges of my consciousness. With each passing year, my quest for artistic identity grew more desperate, a never-ending cycle of imitation and frustration.

By 2001, I found myself standing at the precipice of despair, my once-enthusiastic brush now heavy with the weight of uncertainty. For all my efforts to master anatomy and technique, I had lost sight of what truly mattered – the essence of character.

In my relentless pursuit of perfection, I had forsaken the very heart of my artistry, trading authenticity for mere semblance. But as the years stretched out before me, I realized that true style could not be found in mimicry or imitation – it could only be unearthed within the depths of my own imagination.

And so, with renewed determination, I set forth on a new journey, one guided not by the shadows of those who came before me, but by the light of my own creative spirit. For though the path ahead may be fraught with uncertainty, I know that with each brushstroke, I inch ever closer to discovering the true essence of my artistic soul.