<How to Win My Husband Over> Interview with Artist SIRU

Q. Do you have any hobbies or favorite collections? 

A. I think gaming has been the most enjoyable hobby. (Of course, I absolutely can't play when I'm serializing🥲)
    I mostly like Nintendo games. <The Legend of Zelda series>, <Fire Emblem series>, <Buried Stars>, <Hotel Dusk: Room 215>, etc...
    Aside from Nintendo games, I enjoyed playing <Final Fantasy XIV>.
    The game I'm into lately is <Baldur's Gate 3>. I like games that turn the player into a hero and push forward with various companions😄

    Recently, I've become interested in collecting LP records!
     It hasn't been long since I started collecting, so I don't have many, but I'm gradually gathering my favorite songs.

△ The artist's healing point

Q. It feels like you have a romance beam in your hands.
    You can feel the aliveness and raw emotions in the eyes of characters trapped in 2D, so it's impossible not to get immersed.
    Then! I wonder what kind of work would come out if an artist like you drew a different genre. Are there any genres you'd like to challenge yourself with?

A. I'd like to try modern romance or the BL genre at least once.
    Also, even though it's the same romance fantasy genre, I want to challenge myself with a story set in the 19th or 20th century. 

Q. Before we dive into talking about the work in earnest, I'm curious about the studio where the work is created. Please introduce it to us! 

A. It's been about 6 months since I moved to this studio. Since I spend most of my time working, I ended up using the living room as my workspace.

△ The cozy and dreamy studio where Iske and Ruby's love blooms 🥰

[About <How to Win My Husband Over>]

Q. Now! Let's talk about the series in earnest. I know it's been about 4-5 years since you first encountered the original novel.
    How long did it take to plan the webtoon adaptation?

A. I started planning it around May 2020.
    After working on the character sheets, I had never done a story adaptation before and didn't know how, so I just started drawing storyboards blindly.
    As I continued working like that, before I knew it, it took about a year and a half to be able to present it to the readers.

△ Novel Cover (Left) Webtoon Cover (Right)

Q. Fans who enjoyed both the original novel and the webtoon have applauded your excellent adaptation skills every time.
    Looking at the Season 2 afterword, it seems you adapted the entire season's content before jumping into the webtoon drawing process.
    I'm curious about your process of working on an episode, including the adaptation.

A. First, during every long hiatus, I lay out a large framework for the entire season's adaptation in advance.
    (Even if it's not strictly content for that season, I gradually set up minor additional settings for the characters and background adaptations.)
    I tend to write down how I will adapt the story and what parts I should focus on.
    When I pass the draft of the adaptation plan to my PD, they give me different opinions and feedback on the adaptation.
    They really help me a lot when I struggle with writer's block during the adaptation. My serial PD is the best... ( ’ -;)b

    Once the adaptation framework is set up like that, I dive into the storyboard work for each specific episode.
     I usually work on 3 to 4 episodes' worth of storyboards during a regular hiatus week.
    I only follow the large framework of the prepared adaptation plan, and I conceptualize the detailed adaptation and direction for each scene at this stage, laying out the panels.

    Next comes the drawing process.

△ Lineart stage

    I think the lineart stage, which I start first, takes up the most time.
    I first send about 20 panels of sketches with only the face lineart done in advance to my lineart assistant,
    and I work on the sketch + lineart for the remaining 40 panels. (The chick mark is a marker to check which panels to give to the assistant haha)

△ ↑ Guide marks   >   The coloring assistants' work

    As soon as a page of lineart is completed, I check the guide and hand it over to the coloring assistants.
    For about 5-6 days, I think I work simultaneously with the coloring assistants.

    The completed coloring files go through pattern work for the clothes, and then move on to the post-correction stage.

△ Post-correction stage

    After inserting backgrounds for each panel, I send the files to the post-correction assistant with a guide detailing the specific requests and direction for each panel,
    and they proceed with the work right away. (The post-correction assistant joined us from the middle of Season 2, and they do the work perfectly. 👍)

    After finishing the post-corrections like this and finalizing the manuscript with the assistant in charge of typesetting, sound effects, and accessories,
    an in-house editor at the company proceeds with panel rearrangement and speech bubble decoration to fit the scroll format.

Q. What is the most important thing you keep in mind when adapting the story?

A. I pay close attention to whether the chronological order of the past and present fits correctly in the story.

△ Timeline Table

    It's a timeline roughly listing the events, order, and the situations of the characters at the time.
    Sometimes I get confused while working, so I realized I had to write it down separately.
     And this is related to the question you gave me below, but because drawings provide more intuitive visual information than text,
    there are cases where the maturity level needs to be adjusted, so I keep that in mind as well.

Q. You must have read the original novel a lot. Were there any scenes you unfortunately had to delete during the adaptation process?  

A. I aimed not to delete anything as much as possible, but there are still times when I have no choice due to length constraints.
    The scene I regret deleting the most is the scene featuring Popo and Purung from episode 108 of the novel.
    The length was a big reason, but as the atmosphere shifted slightly during the adaptation, I felt it wouldn't fit, so
    I decided, 'Let's have them appear next time~'
    Because many readers like Popo and Purung, my feelings of regret were even stronger.

    However, you will be able to see them again soon in Season 3!

Q. Referring to your answers in the afterword, you mentioned that the reason you took on the webtoon adaptation for this work was
    that you wanted to draw the episode where Ruby realizes Iske's love.

    I'd like to ask about any behind-the-scenes stories or your thoughts while working on your most cherished scene!

A. I thought it was the most important scene in the entire series. Because of that, I was really worried a lot.
    As I kept looking at it while working, I gradually lost my objectivity. So I remember going around asking my fellow artists for their opinions.
    But my worries were unfounded, and I was so relieved that it seemed to convey well to the readers.

    Also, there is a song I listened to while empathizing with the emotions as I drew that scene.
    It's a track called 'The Idol Of The Time And Space', the OST of the game <Devil May Cry 4>,
    and I remember working while losing myself in its dreamy yet nostalgic atmosphere.

    It felt like carefully teaching what 'Love' is to Ruby, who seemed to have lost her emotions and her heart was just floating in mid-air.

△ For the webtoon, you can check 'Episode 102'!

    And to share one more behind-the-scenes detail, the outfit she wears here is from the cover used before the Season 2 hiatus.
    I wanted to intend a direction that dreamily reminisces about Ruby and Iske's memories, so I used the same outfit.

    I was touched that some readers on social media noticed it.🥰

Q. Other than the scene you mentioned earlier, could you pick 3 more scenes that you can say are the true essence of <How to Win My Husband Over>?!

A. It's a little embarrassing for me to pick them myself, but, 

    Using that panel from this scene, I promoted it on social media uploads, and I remember it was the first time I received attention while working on <How to Win My Husband Over>.
    I also had a lot of fun drawing this scene. 

    I think the second one is this scene.

    Actually, Iske's feelings were probably settling in little by little even before this,
    but I thought of this scene as the moment Iske falls for Ruby all over again.
    I tried to work on it so that the feeling I had while reading the novel—'He just fell for her...'—would be conveyed to the readers as well.

    I think the last one might be this scene.

    I want to pick this scene because it's the part where Ruby realizes the meaning of
    'Love' within her emotions, which takes up the biggest pillar in <How to Win My Husband Over>.

Q. The original novel was also highly loved, but the intensity of the abuse Ruby suffers or the frustrating sections caused by their lack of communication early on
    distressed readers. The great response to the webtoon's adaptation seems largely due to how smoothly you resolved these parts.

    In the afterword, you mentioned, 'I often brought out words I wanted to directly say to Ruby.'
    Is there a most memorable adapted scene or line from the story so far?

A. There are three scenes that I remember the most.

    One is in Episode 72, the scene where they clear up the misunderstanding that occurred when Freya drank wine laced with magic stones, causing blood to splatter onto Ruby,
    which led Iske to hurriedly push Ruby away.

    Ruby was in a mentally cornered state, and I thought that for their relationship to develop stably in the future,
    they had to resolve the lingering questions they had kept buried.
    I also hoped Ruby could trust Iske more and pour out her true feelings,
    and I worked on it while agonizing over what words I would need to hear to feel reassured if I were Ruby.

    Another is in Episode 90, the scene where Iske drops Ruby off at the mansion and they part ways.

    It wasn't in the original work, but I wanted to give at least a little healing to Ruby, who must have been mentally devastated after being abused by Cesare
    in the previous episodes.

    I wanted to show what Iske is thinking when he sees Ruby constantly avoiding him,
    and why he doesn't press her further about it.

    Because I thought Iske would have immediately noticed the change in Ruby.

    However, because of the pain of his past, he was also in a position where he couldn't easily bring himself to speak to Ruby,
    making it a scene that many readers felt very sorry about.   

    Lastly, it's the scene in Episode 111, the Season 2 finale, where Ruby and Iske open their hearts to each other.

    Actually, it's not Ruby's fault, but because of the way she's lived so far, she ends up blaming herself even while speaking her true feelings.

    I hoped that such a Ruby would no longer blame herself.
    I wanted to pat her back and tell her that living that way wasn't her fault, and I ended up conveying that feeling by projecting it through Iske.

    I worked on it thinking, 'Wouldn't the readers of the webtoon also want to offer Ruby the same comfort as I do...'

Q. Other than that, were there any scenes you wanted to bring to life better from the original but found difficult to implement?

A. In the original novel, Ruby's unstable psychology is described at length, providing immersion.
    However, webtoons have a fast tempo and must be expressed through drawings and dialogue, so I think it was difficult to contain all the rich dialogue like the novel.
    Therefore, I had no choice but to inevitably cut or reduce some dialogue.
    Instead, I tried to convey Ruby's psychology as best as I could through the drawings.

    Also, I didn't have experience with creature or action genres, so it seemed difficult to bring out the grand feeling of the monsters and action scenes.
    In particular, character design for the monsters was the biggest challenge. It was really, really so hard....🥲

    And the part I was most worried about while working was Iske's uniform design.
    When reading the novel, I imagined it with a grin, but when it actually came to drawing it myself, I was so embarrassed...🫣 (Of course, Iske, who is wearing it, probably wouldn't think anything of it) 

△ Officer! Here, over here!!... There's a work of art...

Q. I want to talk briefly about the artwork of <How to Win My Husband Over>.
    The characters go without saying, but what makes me marvel throughout the series is that the details and textures are alive—even in the characters' costumes, lace, accessories, background curtains, and trivial wall decorations.
    This is truly amazing. I'd like to know about your research process for these designs and how you incorporate them into the work! 

A. In the early stages, I designed using simple elements like lace and ribbons that commonly come to mind in romance fantasy.
    Then, while watching the Netflix drama <The Borgias>, I gained a lot of inspiration and a big realization from the Borgia family, which is Ruby's background, and the costumes of that era.
    I also collect medieval movie captures and live-action clothing as references on Pinterest and incorporate them into my design work.

    Of course, I don't draw exactly as the references show, but I use them just as references and draw as my hand goes.
    For colors, I refer to my taste or color palettes, and I work carefully to ensure they don't become too highly saturated.

△ Ellen, Freya, and Ruby's outfit design sheets

Q. I believe there are many aspiring artists who study while looking at your artwork.
    Please let us know if there is anything you prioritize when designing characters and making storyboards!

A. When designing characters, I think the most important thing is to express each character's impression differently.
    For example, for Ruby, I paid attention to softening her sharp impression by adding droopy eyebrows to her cat-like eyes.
    On the other hand, Iske was designed aiming for a much more prickly, sharp cat-like face (or wolf-like face). (Although his expression has become quite gentle in recent episodes haha)

△ A well-matched pair 🥰

   Cesare had many descriptions in the original work saying he was handsome, so I tried hard to capture his charm to bring that out as much as possible.
    Because I believed that the more of a villain you are, the more handsome you should be.

△ A man is defined by his character, you punk 😤

    In storyboard work, I value the natural flow of the scene the most.
    When transitioning from panel 1 to panel 3, I try to connect the gaps smoothly,
    and I conceptualize it by playing it in my head like an animation.
    Also, I consider what direction would be effective if this work were a video medium.
    However, because comics struggle with acoustic expressions unlike video media, I try to compensate for this with sound effects.

△ Example of directing using natural scene flow and sound effects

Q. It seems that the reason every panel reaches deeply into the readers, going beyond a flat screen, is because the directing of light and shadow in each panel is also excellent. It's almost to the extent that you can feel where the sun is and where the wind is blowing from in this space.

    To have this level of expressive power in drawing, what kind of practice and how much time is needed? 

A. There was a time when I was ignorant about light and shading, but taking a basic theory class for a year in high school helped me a lot.
     The theoretical part was also important, but I think I was heavily influenced by the shading methods of the animations I watch often.
    I thought the charm of animation shading is that even without many brushstrokes, if you utilize the direction of light and key shadows well, the drawing looks full and you can feel its weight.
    I especially like backlighting direction, which seems to have been a great help in maximizing light and contrast.

Q. If you were to step outside the original story of <How to Win My Husband Over> and draw your own original story taking the protagonists with you,
    what kind of era background and what kind of story would you like to draw?  

A. Based on my tastes, the background of early 20th-century Britain comes to mind.
    I don't have a story in mind yet, but there is something I want to draw.

    Like them wearing coats, or Ruby and Iske riding a train together...🤭

Q. How far along is <How to Win My Husband Over> towards the completion you have planned?

A. Due to health issues, it seems the seasons will be quite broken up as we proceed.
    I'm guessing there might be about 2 seasons left until the end. (It might take longer...)

    Considering side stories and hiatuses, it will likely take at least 2 years.

[Outro]

Q. The New Year has dawned. It is an infinite honor to open the start of 2025 with an interview with you.
    Please let us know if you have any simple New Year's plans!

A. The honor is absolutely mine!

    I'm not the type to make New Year's resolutions... but what comes to mind is that getting healthy is my top priority.
    Health, which cannot be exchanged for anything... I felt it deeply in my bones while working.🥲

    On a smaller note, I'm planning to make a blog.
    I think I will post behind-the-scenes stories from my work, work playlists, or simple doodles.
    I might also upload personal doodles unrelated to <How to Win My Husband Over>... However, exactly when that will be is...!

Q. Please briefly introduce the upcoming Season 3 of <How to Win My Husband Over>.

A. Season 3 begins with the events that unfold as Ruby's second older brother, Enzo, comes to Elendil while the peaceful everyday life of the North continues.
    There will probably be quite a bit of webtoon original story added this season that wasn't in the novel.
    You could say it's getting very close to the end of the main story of <How to Win My Husband Over>.

    What kind of active role Ruby, who has overcome her trauma and grown, will play alongside Iske,
    and what changes there will be for the other characters, please look forward to it a lot!

△ A loverboy(?) is coming.

Q. Do you have any next works in mind after <How to Win My Husband Over>? 

A. Not so far.
    I'm not good at multitasking, and I want to focus only on <How to Win My Husband Over> which I'm currently working on, so
    I'm not thinking about my next work.

Q. Thank you so much for your hard work answering this long interview.
    You must have received many affectionate comments and questions from fans captivated by your story. Are there any that stick in your memory?

A. The one I remember the most is a comment on Episode 61,

    'Honestly, even the readers who watched Iske fall in love with Ruby wouldn't be able to pinpoint exactly when and where it happened.
    That must be the same for Ruby and Iske. I don't think they know when and where they started being sincere to each other.
    At first, they were probably either using each other or were bothersome existences to each other. The fact that it gradually seeped in, like clothes getting wet in a drizzle, is conveyed even to the readers.' 

    In Episode 61, Iske tells Ruby, "I love you." (It was originally a different line, but our PD revised it to "I love you." haha)
   Of course, these words came from sincerity, but it was also a scene containing the intention to hold onto Ruby.
    Actually, at first, neither Iske nor Ruby wanted each other.
    Iske showed a defensive attitude due to painful past experiences, and Ruby unavoidably pretended to want him to protect her own life.
    But as time passed, Iske discovered unexpected sides to Ruby and came to feel compassion and many other emotions,
    and that attitude influenced Ruby, starting her departure from the mindset of only fearing Iske.

    I think it's hard for anyone to definitively state exactly when love started.
    I wondered if love wasn't something where feelings gradually grow over the time spent together, and to have someone say that this was conveyed... I was so moved, so it remains the most memorable.

△ From Episode 61

Q. Lastly, if you have anything you want to say to the readers who loved <How to Win My Husband Over>, please go ahead to your heart's content. 

A. Our readers who always wait and come running every time there's an upload...
    I always feel infinite love and gratitude.
    I think the biggest way I can repay you is to complete the series with as much perfection as possible.
    I, too, am working on it with the same affection as the readers, so I would be truly grateful if you watch over it with me until the very end! *‘ –‘)S2 

    Lastly, Happy New Year, and have a healthy and happy year! 😊

Have a year filled with the people you love.❤️
Thank you for being with us for this interview.