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Alesaan: À âèäåë ëè åãî êòî-íèáóäü? ß ôîòî íå ñóìåë íàéòè, à íà äèñêå ñ àíèìå åãî èíòåðâüþ áûëî òîëüêî â àóäèî çàïèñå. Îí ÷òî? ñêðûâàåòñÿ îò ðàçãíåâàííûõ ïîêëîíèêîâ?
Nastanados: Íîâîå èíòåðâüþ ñ Òîðèøèìîé: http://www.crunchyroll.com/anime-feature/2016/08/12/feature-berserk-discussion-explores-kentar-miuras-roots http://www.crunchyroll.com/anime-feature/2016/09/22/feature-part-2-of-berserk-discussion-urges-miura-to-try-a-new-story 1-ÿ ÷àñòü (âòîðàÿ - â ñëåäóþùåì ïîñòå. FEATURE: "Berserk" Discussion Explores Kentarō Miura's Roots Series manga author speaks with legendary former editor Kazuhiko Torishima Berserk home anthology Young Animal recently commemorated the new anime adaptation with a series of discussions between author Kentarō Miura and a variety of guests. The first has Miura-sensei speaking with legendary former editor Kazuhiko Torishima, and we’re happy to present a translated version! Thanks to Elissa Sato / Rei Miyasaka for the translation work. *** Miura Kentarō - Berserk Torishima Kazuhiko - President, Hakusensha Profile: Joined Shueisha as an editor in 1976. Known for being a strict editor with "Vetoed!" as his catchphrase, he discovered many now well-known manga artists such as Toriyama Akira and Katsura Masakazu and sent numerous famous works out into the world. He retired from his position as senior managing director at Shueisha to assume his current position as the president of Hakusensha. Exploring Miura Kentarō-sensei's Roots Special Dialogue Vol. 1 Part 1 of 2 In commemoration of the TV anime adaptation of Berserk, there will be a series of dialogues between Miura-sensei and various guest speakers. His first dialogue involves a legendary former editor... Exploring Mr. Torishima's Childhood - Thank you for being here today. We understand it was you who wanted this meeting to take place--can you tell us why? Miura: There are many reasons. I wanted the discussion to be with someone who has impacted my professional life as a manga artist. The work that had the greatest impact on my work is Fist of the North Star. At the same time it was being serialized in Weekly Shonen Jump, there were other ongoing series like Dr. Slump, Dragon Ball, and Saint Seiya. Mr. Torishima was with Jump during my junior high and high school years—a very formative time of my life. First, I'd love to hear about Mr. Torishima's family and childhood, as well as adolescence. Torishima: You're interested in that? I guess I've never said much about any of it. Well, first off, I had no friends. Miura: Were there reasons for that? Or maybe you just decided not to make friends? Torishima: I could never find anything in common to talk about with other kids. With regard to my family, I guess I didn't really have a good relationship with my dad. Of the many things I can remember him saying to me, if I were to choose one, it'd be "being penniless is worse than being headless." Throughout my childhood, that was his message about how life worked. Another one would be "don't be so stupid as to be called a sensei." Professions where you get called that are considered sacred, but they also come with stress and other downsides. I think what he meant was to look past the title and into the person. Miura: Your father was a smart man, then. Torishima: My mom was a very positive woman. One thing she used to say is, "if you deal with idiots, you're also an idiot." If idiots are coming up to you and trying to get a rise out of you, you have to ignore them. I guess that's how my parents were. Miura: I see. Were you in Niigata the whole time you were growing up? Torishima: Yes, that's where my hometown is, but I actually don't like Niigata people. When you live out in the countryside, you spend kindergarten, elementary school, and junior high with almost the exact same group of people. That's what I didn't like. A Monster of a Child Torishima: After that, I couldn’t make it into university, so I moved to Tokyo to enter a prep school. Miura: Did you feel like things opened up for you more in Tokyo than you did at home? Torishima: I felt liberated, having discovered for the first time in prep school that there are people who share my interests and who are smarter than I am. Miura: Still, you spent a large part of your youth – your high school days – in Niigata. Is there anything that was memorable to you about that? Torishima: Nothing. I just read books the whole time. During middle school, I tried to read a book a day. Miura: That’s impressive. What kind of books did you read? Torishima: Anything and everything. I would go to multiple libraries every day – the school library, the city library – reading anything that would catch my interest. Miura: Was it during the student revolution that you were in college? Was there still an air of violence at school? Torishima: There was some. Most of the people revolting lacked imagination. They were incapable of thinking what would happen at the end of it all. I went to college against my dad’s wishes because I thought it would be the best way to achieve financial independence. But then the oil shock hit, and companies stopped hiring. That was a huge miscalculation. Miura: There was no way you could have seen that coming. You had no friends; you got in trouble at school; do a lot of your stories involve getting into conflicts? Torishima: I think so. What I hated the most was people who would thoughtlessly throw labels around. Ever since I was little, I’ve felt that people who aren’t able to express their own thoughts and ideas using their own words were lacking. Miura: Did you feel that way even before you started reading books? Torishima: Hmm… I don’t know which came first. The kids at my preschool used to pick fights with me, too. The teacher would take the other kid’s side, even though they were clearly in the wrong. I knew that the teacher was close with the kid’s father, so I accepted it as just plain favoritism. And then when I moved on to elementary school, the teacher and the kid’s dad got married (laughs). Miura: How did you gain such observational skills? Torishima: I didn’t really “gain” skills; there’re just things you notice when you pay attention. Miura: I know there are some kids that are unbelievably astute from when they’re really young. You must be one of those people. Torishima: Things would get messy whenever I talked to people, so I would always think to myself, “Please stay out of my way.” Miura: You were like a monster child. (laughs) A Manuscript Style Inspired by Dad’s Storyboards Q: What was your early youth like? Miura: To be honest, I was quite a stupid kid (laughs). I was born in Chiba, and I lived in Yachiyodai, Chiba until second grade. I lived in Kajigaya, Kanagawa from second-year middle school, and Tsurukawa, Machida until college. I’ve been moving about since I became a manga artist. My father used to do storyboards for commercials, and my mother taught an art class. They married while they were both students at Musashino Arts School. So even when I was little, I would sit in the corner of art classes and draw. Soon I began wanting to become a manga artist. Torishima: Did it ever get to your head at home that your father was a storyboard artist? Miura: I had lots of opportunities to see his work before he submitted it, so of course I was conscious of it. His drawings would end up on TV commercials, so that’s how I got to know about the work he does. Q: Were you always able to understand storyboards, even since you were a child? Miura: Storyboards are made to convey meaning by pictures alone, so of course I could. I think my paneling style might have taken inspiration from my father. I’d stopped doodling at preschool, and in elementary school, I began drawing manga. I started off imitating others’ work, such as the manga in study magazines and such. Torishima: What did you think of the paneling as you did your imitations? Miura: Hmm. I never really took note of it. Torishima: Did your editors ever teach you about paneling? Miura: Yes, actually, my editor taught me the basics. But I had a vague idea of how to do it even before I was taught. Torishima: Your dad’s storyboarding must have had a positive effect after all, then. Miura: You might be right. What a nice environment for me, huh? (laughs) A High School Life Spent Polishing Manga Skills Miura: I have a pet theory: If you can’t think of your own personal history as a story, you can’t become a manga artist. So I figure I should picture Torishima-san as a manga character as we do this interview (laughs). Q: Does that mean you look at the people around you – your family and friends – as manga characters as well? Miura: I think it’d be more accurate to say that I gradually begin to see them as characters. If I spend enough time with a person, I get to learn about their personal lives and about fun anecdotes. That gives me a sense of who they are fundamentally, and the anecdotes begin to paint a picture of what kind of person they are. Torishima: I guess it’s not like you’d ever ask a person about their parents as soon as you meet them (laughs). Miura: I’m sorry! Torishima: So, when did you start actually working towards a career as a manga artist? Miura: I first started taking it seriously in high school. It’s not often that you come across someone in a normal high school who is trying to become a manga artist, right? So in order to meet people who had the same aspirations that I did, I went to a school that had an arts department. And I actually met people there. We became friendly rivals, and that made me much more conscious to the fact that I was going to become a manga artist. Of course, the only two people among us who actually ended up becoming manga artists were me and Mori Koji-kun (known for Suicide Island and others). Torishima: Did you submit your work somewhere since you decided to become a professional? Miura: I did indeed. I think my first one was Weekly Shonen Sunday. Mori-kun and I co-authored a piece, which we sent, but it got shot down in the last round of selections (laughs). It was a sci-fi piece; those were popular back then. Come to think of it, Mori-kun played a huge part in my life. He was like a Johnny’s lead singer. He was popular with the girls and a bit naughty, getting into fights and such. But he was serious about becoming a manga artist, so he left his delinquent-infested hometown to start over at art school. Torishima: How exactly did co-authoring work? Miura: Mori-kun was in charge of doing drafts and character designs, and I did the background art and mechs. It was a really shoddy manga, though (laughs). Torishima: Do you still have it? Miura: I do. I have it tucked away in my closet, in a plastic bag. Torishima: It’s your starting point. You should re-publish it somewhere (laughs). Miura: Nah, I don’t know about that. Torishima: From an editorial standpoint, you could say that Mori-sensei was the kind of person who was born to write I-Novels, like Dazai Osamu. Those kinds of people are very magnetic in their teens. I bet he seemed awesome to you, didn’t he? Miura: He did. It actually made it hard to be normal friends with him. He was so awesome that if I didn’t stay away from him, he would dwarf me. I didn’t like my options, so I fought back the only way I could, which was to keep working on manga. Torishima: So you tried to compete with him in manga skill. And he was so awesome that you clenched your teeth and stood by his side despite it all. Miura: He was awesome, and it was difficult for me. Torishima: Sounds like Guts and Griffith. Miura: That was actually the inspiration. But sometimes I would be Guts, and sometimes I would be Griffith. It’s probably something that happens a lot in guys’ relationships. Would Never Let You Write Volume 13?! Torishima: Having read Berserk, there’s something I’d never have let you do if I were assigned to it. In Volume 10, when we’re about to find out how Griffith gets ahead, he seduces Charlotte with ease. That really hurt! I felt like you were trying to bring the story to a climax, to hurry to Volume 13, to make a homage to Devilman (Nagai Go). But I was reading Devilman as it came out, and that kind of out-of-control storytelling wasn’t a good idea in a Shonen manga. Even in Berserk, I knew what would happen in Volume 13 after Griffith fell. You can’t normally just let a character go down like that so easily. Miura: In Berserk, there was a particular order in which the characters would be complete. “Black Swordsman” Guts was the first thing I was set on. At the time, I didn’t have any idea what his backstory would be. Torishima: You really couldn’t tell anything about his past even in Volume 3 (laughs). Miura: It was my first long-term serial, so I was fixed on bringing out the “Black Swordsman” aspect as much as I could. What I’d decided on was that he was angry and black all around. And because he was so angry, he was vengeful, and because he was vengeful, he wielded a huge sword and a cannon. I focused all my efforts on the character development up until around Volume 3 or 4, and then I would think about what brought them to revenge. Torishima: Then you could have done Volumes 1 through 3 differently. For weekly magazines, you need to finish presenting your characters by the third week. Miura: That’s really how it is these days, isn’t it? Torishima: If it were up to me, I would discuss what the protagonist wants and what kind of past they have, and have the author write that into the first chapter. Even if the one-shot that you submit is good, I’d discuss it more, pick it apart, and then do the first chapter. That’s the job of an editor. Miura: Well… The magazine I submitted to at the time was on the verge of going under, and my editor had just gotten transferred to another department. And then I was switched around between several editors, until I was finally with my first editor. They say that authors improve with repeated criticism, but I landed the serial as soon as I made my debut, so I never had the opportunity to receive much criticism. Oh, but I was submitting manuscripts to a Shonen magazine for about four years before Hakusensha, so I got plenty of criticisms there (laughs). Torishima: How come that Shonen magazine didn’t work out? Miura: Part of it was that I just wasn’t capable enough, but aside from that, they just weren’t interested in publishing science fiction or fantasy. Torishima: That’s true, there was an Adachi Mitsuru boom at the time, and Shonen Sunday had the most momentum. The manga industry was all about romantic comedies thanks to Adachi-sensei’s influence, but there were questions about whether it was the right idea for Jump to go after Sunday with romantic comedies. And that’s how Fist of the North Star came to be. Miura: Wow. Fist of the North Star is central to the manga world in my mind, though. Pictured: Buronson and Hara Tetsuo's Fist of the North Star manga The True Purpose of Meetings Q: Miura-sensei, have you ever submitted manuscripts to Jump? Miura: I haven’t. I was too chicken (laughs). Torishima: Yeah, that would have been scary. Miura: It’s terrifying. All the elites who want their works serialized in a weekly magazine submit their work to Jump. I didn’t think I stood a chance. Torishima: You could have made it to the top of the manga world if you succeeded there, though. Miura: I know, right? That’s really how it was over at Jump. But I just wasn’t cut out for it. Torishima: Nah, I think you’d have put up a good fight. Miura: I don’t know. Torishima: If you’d met me, you would! We happen to be contemporaries, too (laughs). Miura: Let’s go back in a time machine (laughs). If you were to ask me, all the manga artists back then were superhuman. They were already talented, and they were giving it more than their all in order to be published in a weekly. Torishima: You’re right, being published in Jump might not have happened back then. Q: I get the sense that creating manga back then was much harder than it was now, especially without the help of digital technology. Torishima: That’s precisely why the manga artists back then were pressured to up their game even more. For example, finishing a manuscript within two days wasn’t particularly impressive back in the day. Not only that, there actually wasn’t much difference in substance between a manuscript finished in two days and a manuscript finished over four days. The only difference was determination. It’s like in quiz shows: When you have three options, you’re more likely to hesitate and get it wrong. Your first guess is often the correct one. Also, the editor mustn’t join the author in hesitating. It’s important for the editor to see the raw ingredients and decide how they should be cooked. In other words, it’s important to know how to determine what should be used and what should be cut. The point of a meeting is to bring order to the content – to figure out how to make use of the panels that stand out the most. In fact, it’s the same for reader questionnaires, too: The point is to figure out not what they liked, but what stood out. Miura: I see! By the way, were there any tricks of the trade at Jump’s editing team for improving beginner manga artists? Torishima: Not really. But it was when I became the Deputy Editor that I made all of Jump’s teaching material leading up to now. Jump’s editors were all over the place in terms of skill level. There were a ton of editors who thought it was enough to give feedback, but that doesn’t help the manga artist improve. To make sense of what works, what doesn’t, and what to fix, the editor first has to know the author’s writing style. Miura: So Jump is Shonen manga, and Animal is Seinen manga, but was there any difference in the editing process? Torishima: Nope! The only difference between Shonen manga and Seinen manga is “bitterness.” The human palate changes in terms of sweetness and bitterness. When bitterness joins the mix, culture becomes explosively more complex. But Shonen manga doesn’t have bitterness. Miura: How many people among those who submit to a Seinen magazine understand this “bitterness”? Torishima: Never mind that; no number of manga artists would suffice if there weren’t any editors who understand it. Miura: Sometimes, once you have some manga experience like I do, you start wondering if there’s anything you can teach the new manga artists. Torishima: I think it would be in methods. To write educational books.
Nastanados: 2-ÿ ÷àñòü èíòåðâüþ: For Anyone Stuck on the Ground Miura: I get the impression from talking to you that you’re someone who really values your use of words. Torishima: Of course. An editor’s work is from the neck up. You see with your eyes, hear with your ears, and speak with your mouth. That’s what an editor is. And the mind is something to be expressed, not something to make decisions. Q: President Torishima, how do you think the editors have changed since your time as an editor at Weekly Shonen Jump? Torishima: They’re just not as great as they used to be. Miura: Do you notice anything different about the youth now, in the Internet age, and youth before the Internet? Torishima: I think that relates to the question of, “Does having more stuff lead to fulfillment?” Miura: I’m not sure I’d say we live in a fulfilling time. Torishima: Put bluntly, hunger is the greatest spice. That holds true for information, too. Miura: But those are the kinds of people who are our manga readers. Torishima: That’s the real question: Are those people really our audience? Miura: Are they not? Torishima: Who do you write manga for, then, Miura-san? Miura: Personally, I write for “someone who is like me.” I don’t think my manga can be appreciated by anyone beyond those people who share my sensibilities. I want to write for the people who are like who I was during high school. Torishima: That’s not quite my thinking, but I think that’s a very honest answer. If I were the editor, I would want to create manga for people who are stuck on the ground. I want to save them by giving them the wings of fiction. Because when I was a kid, when I was without freedom, it was words and books that gave me flight. Miura: Huh. I guess personal experience really does shape things. There’s really no reason to put personal feelings aside to create manga, for example, for the sake of your company or for the sake of society, is there? Torishima: Absolutely, there isn’t. Authors don’t need to worry about that kind of thing, but editors do. Q: By the way, President Torishima, what do you think is the most important skill for an editor to have? Torishima: The ability to love people. An editor needs to be able to see a person objectively, and love them still. And some capable editors don’t know how to make use of their talents. Those people ought to stand tall, and say to themselves, “I’m the only one who can accomplish the things I want to do.” Miura: Some of my friends are egotistical, and yet their egotism is what makes them interesting people. Torishima: Exactly. You mustn’t forget what it is that you need to do. Berserk in the Eyes of Editor Torishima Miura: Earlier (in the previous half), we talked about Chapter 13. May I ask you what your honest feelings are about Berserk as a whole? Torishima: To be honest, it’s a painful piece. As I said before, it’s been implemented wrong. You’re good at establishing a theme before you write, but unfortunately, you’ve written it with a certain detachment. And you’ve done a lot of research in order to dig into the theme, which you try too hard to convey through dialogue. I think, if I were your editor, I would cut down your dialogue to a fifth and your shots to a quarter. Why? Because you have even more skill in your use of dialogue than you do in your art. Your artistic ability is absolutely amazing, of course, but your true strength is in your dialogue. There’s love in your dialogue. You must be a very kind-hearted person (laughs). Miura: That’s embarrassing (laughs). Torishima: I’m not flattering you. And I think you rush to your characters’ developments too quickly. The audience is seeing things three times as fast as you are. Miura: I’ll be dead by the time it’s done (laughs). Torishima: I think that’s fine, too. There’s no rule that says that you have to finish. So long as you have something about your characters that you want to express, and so long as you’re headed in that direction. Miura: Personally, I like depicting characters, but I like electrifying stories, too, and I become tempted to write those as well. Torishima: I think that’s something of an illusion. I think by depicting characters, stories will come naturally. Another thing is that you, yourself, mustn’t take on the perspective of an editor. Writers like you have an editor within you as well, which is why you’re so self-critical. You end up seeing problems that not even your editor notices, and you end up cutting things out of your work. Miura: I see… I wonder if it’s too late for me to change my attitude now. Torishima: You can do it. Miura: It’s true that I make the first chapter really dense, and I end up being unproductive as a result. Maybe I can slow down a little. Torishima: Also, you don’t need to do backgrounds. Miura: I feel that way sometimes, too (laugh). Torishima: You have enough artistic talent to wow your audience with just the close-up shots of your characters. Miura: I guess I need to make it more manga-like. I keep being influenced by the various manga that left a mark on me during high school. You’re right, though, it’d be more tasteful to try to move my audience with just a single pen stroke. Torishima: Anyone can do addition with enough time, but subtraction takes brains. You ought to do more subtraction. Also, your personality is too pure and sincere. I’m amazed that you lived your life so long with such purity (laughs). Miura: I have to agree. I’ll start making an effort, beginning with my current manuscript. I’ve been making manga all this time without ever changing my style. I think I’m beginning to outgrow it. Torishima: It’s definitely not fitting you. You should take it so far that it starts feeling sarcastic. Like me; I’m a very sarcastic person. Let’s be sarcastic together while I’m at Hakusensha (laughs). Talent is a Dog in a Cage Torishima: I’ve worked really hard all this time, battling this thing known as “talent.” My sole motivation is to discover talent and to show it to the world – to see it proliferate. Q: Getting back to that, what exactly is author’s “talent” to you? Torishima: I think it’s a dog in a cage. It’s trapped within the author, and its instinct is to get out. Talent is that rush – that hunger. And the editor’s job is to train that dog. As ravenous as it may be, if it isn’t given direction, that talent goes to waste. As I keep saying, the job of the editor is to create order, after all. Miura: Do you think Berserk is chaotic and lacking in order, too? Torishima: No, if anything, Berserk is too orderly right now. That’s why it’s so painful. It’s too sincere. Miura: I’d like to ask about the manga industry, too; compared to the Showa period (when the Internet didn’t exist) I feel as though the Internet and other mediums are destroying it. It’s not looking too well. Torishima: It’s doing fine. It doesn’t have anything to do with the Internet or anything else; it’s just that there aren’t as many interesting manga these days. And it looks as though there’s a lot of new stuff, but the truth is that media itself isn’t growing. For example, there might be more aggregate websites, but it’s not that there’s more original expressions. Miura: What do you mean when you say, “original expression”? Torishima: A lot of people have lost sight of what they’re living for. Expressions provide answers to that question. You could go as far as to say that there aren’t many expressions that say, “Hey, you’re a valuable person.” Miura: Perhaps you disagree, but I believe that the times and technology have an impact on people. Especially in modern times, with social networks and messaging services like LINE becoming popular, the young are always in contact with each other. They never learn to confront their own selves. So I don’t know if they’re getting a head-start, or if it’s something else entirely. Torishima: I don’t know what the reality is, so I can’t really comment. First, you have to know the truth of the matter. You have to really observe the youth. Q: Speaking of which, you mentioned earlier that there are fewer interesting manga these days. I hear it often said that, with all the diversification, people just don’t know what “interesting” is. Torishima: The word “interesting,” “omoshiroi” in Japanese, is written with the characters for “surface” and “white.” In other words, “interesting” is something that can be written on a blank page. It’s interesting because it exposes you to values that had never existed before. It’s not interesting if you’re just tracing over something that already exists. Miura: Speaking from personal experience, it’s virtually impossible to be original in terms of ideas. So I think that something that’s original is something that can’t be done by anyone but you. Also, you predicted in the past that gaming was about to take off. Is there something that you think is about to take off right now? Torishima: I don’t know, maybe because I’m not feeling anything, or maybe because I’m getting old. I wonder which. Q: You did feel gaming coming along, though? Torishima: I did. It was partly because I was interested in it, too. Miura: I consume more anime and light novels and Niconico videos these days, too. Manga is too grand; it’s hard to do all of it. I do keep an eye on the manga that gets anime adaptations, though. Q: President Torishima, do you have any pure hobbies, unrelated to your work? Torishima: I do not. Everything relates to my work. Miura: You end up making use of everything, when you’re the kind of person who contemplates your purpose in life. All my choices are dictated by whether or not I can apply it to manga, too. I thought that’s just how manga authors are, but I learned quite late that not all manga artists are that way (laughs). Torishima: Of course not (laughs). Editor Torishima’s Final Story Meeting! Torishima: Miura-sensei, why do you work on Berserk? Miura: At first, it was because it was my first serial. But now, I’m just determined to see it through to its end, properly. Torishima: Then may I ask; why do you create manga at all? Miura: It’s my instinct, I suppose. It was something I longed for as a child, and I ended up where I am now after a lot of effort. Torishima: It must be that you’re trying to recreate something that you felt when you were most emotionally receptive. You’re a rare kind. It’s a losing battle, though, if that’s all you’ve got. Miura: I do want to express the awe that I felt in the past, of course, but I also do have an urge to incorporate the new things that have become me. It’s just that I can’t apply it very well to Berserk. Torishima: I think you should just do it. I wouldn’t mind being your editor if you start a new series (laughs). Miura: Really?! That could be fun (laughs). How about the piece that I’m cooking up right now? Torishima: I bet it’ll make me want to draw for it myself. It could end up being Editor Torishima’s final story meeting (laughs). Miura: When you were working on Dr. Slump with Toriyama Akira-sensei, did Toriyama-sensei do the original conceptualization, while you gave it polish? Torishima: Yup. I don’t ever bring anything new to the table myself. I just ask questions and clean things up. Miura: I’d have to bring something really worthwhile, then (laughs). Torishima: Nah, don’t worry, I’m a straightforward guy. I’ll be fair! Words of Encouragement for Author Miura Kentaro Q: We’re almost out of time. Miura-sensei, how did you feel about today’s talk with President Torishima? Miura: I’ve been getting a bit bigheaded lately. I think Torishima-san has given me an opportunity to break through that with his stimulating words. Torishima: In my view, Miura-sensei, you’re still letting your talent go to waste. I want you to keep asking, “What am I looking at? Is it correct?” For example, you do a lot of research for the sake of your work, but you shouldn’t! Why? Because you aren’t the kind of author that needs to study. You have the art and the storyline all in your head. Miura: I never thought of it that way. I should be more untamed, I suppose, is what you’re saying? Torishima: Just be as you are. Like I keep saying, if I were your editor, I wouldn’t have let you have Griffith fall. I know you felt good, going all-out in Volume 13, but at that moment, I imagine you lost all motivation. Miura: I don’t know if motivation is the right word, but I did give it everything I had between the Band of the Hawk and the Eclipse, so I had to put a lot of thought into it following that. Torishima: I think you did it deliberately; you did the series in order to write Volume 13. All the more, you must have regretted it. Miura: I felt as though my shelf life as a manga author would have gone down if I hadn’t made that development. Torishima: You could have lasted longer if you’d met me! What you did was correct, but an editor could have given you other options. Griffith’s turn was pivotal; after that, the Eclipse was inevitable. To me, Volume 13 looked like a farewell note to your life as a manga author. Miura: You’re right, I did have to recreate myself after that in order to keep writing. Torishima: That’s why Hakusensha ought to free you up, and why you ought to start working on a new series. Miura: That’s… not a piece of advice I can give an immediate answer to (laughs). Torishima: Anyway, let’s talk about a new piece whenever you have some time. You have great talent; you should stop being so hard on yourself! Have more confidence in yourself! Q: President Torishima, Miura-sensei, thank you very much.
Ôàðíåçà: íåïåðåíîñèì Êîíåøíî, íåò Nastanados Çàáàâíî, ÷òî îí íèêîãäà íå óíûâàåò ïðîñòî
Nastanados: Ôàðíåçà Ìàíãà åãî êîðìèò.
Nastanados: Èíòåðâüþ èç ãèäáóêà (íà àíãëèéñêîì): ÷àñòü 1-ÿ https://www.reddit.com/r/Berserk/comments/5frs99/berserk_guidebook_interview_full_translation_part/ ÷àñòü 2-ÿ https://www.reddit.com/r/Berserk/comments/5frta8/berserk_guidebook_interview_full_translation_part/
Nastanados: https://twitter.com/comic_natalie/status/871634777073262596?s=04 http://www.skullknight.net/forum/index.php?topic=15323.msg248082#msg248082 Ñóäÿ ïî ãóãë-ïåðåâîäó, íà Manga Award (âðó÷åíèè ïðåìèè) ëó÷øèé ìàíãà-äåáþòà áóäåò ñ ëåêöèåé Ìèóðà.
sparkey: Áóäåò ÷èòàòü ëåêöèþ ïî ñêàéïó ñ îòêëþ÷åíîé êàìåðîé
Nastanados: https://vk.com/groups.php?act=s&gid=98692&w=wall-98692_132701 Ñåãîäíÿ ñîñòîÿëàñü ëåêöèÿ Êåíòàðî Ìèóðû ïî ñëó÷àþ ãðàíòîâîãî êîíêóðñà ìàíãà-ïðåìèè "Hakusensha Immediate Day Debut Comic".
sparkey: Ãäå åù¸ ôîòî è âèäåî..â íàø âåê ñýëôà÷åé ??? Íóæíî ãóãëèòü âñ¸ ÷òî ñâÿçàíî ñ ëåêöèåé è ïîäðóãóîé Ìèóðû òîæå, âäðóã ó íå¸ êàêèå-òî ôîòî åñòü...
Nastanados: Äîæèëè - èíôó ïðèõîäèòñÿ áðàòü ñ äâà÷åé. http://natalie.mu/comic/news/249149 êðàòêèé ïåðåñêàç íà ÿïîíñêîì. Thanks for pointing me to this. It was a nice read. It's a bit too long for me to fully translate, but here is an overview over what he said: First he talks about how to get ideas.As examples for getting ideas by combining elements he uses "Girls&Panzer"(Tanks+Club activities), "KanColle"(Pretty girls+morphing into battleships) and "Restaurant to Another World"(Food+fantasy). Then he goes on to explain to keep the advantages and disadvantages of your genre in mind, using isekai as example. Next he talks about how to build a character using Mozgus as example. Then he goes on to explain how those characters should be placed within the story and how they should interact with each other and develop each other. In regards to Berserk's Guts, Giffith is a character who draws out impatience, fighting spirit and loneliness, Puck is "relaxation, laughter and a "seriousness crusher"", the current Caska is "a character who draws out feelings of guilt, uneasiness and pity". By arranging the characters with the intention to pull a certain something about Guts to the surface, he becomes a multifaceted protagonist. Another point he made was that it's important you project your own human relations into your work. From himself he knows that Otaku often think "I'm nothing special and I'm boring, that's why I choose manga.", but that's not good for creating manga. The Band of the Hawk was grounded on his own high school experience with his friends. Lastly he talks about how to tell a story. He says there are many molds,of which some have proven themselves to be reusable indefinitely, like "a club is in danger of being abolished, so the club seeks out the protagonist who helps them and they fix each other's personal problems" like for example in "Girls&Panzer" and "Saki". He finishes with stating to keep a balance between using established molds and coming up with original stuff, as original doesn't necessary mean good. ïðèìåðíî òî æå, íà àíãëèéñêîì è áîëåå êðàòêî.  îáùåì, Ìèóðà ðàññêàçûâàë ïðî "Ãåðë óíä Ïàíöåðñ". ÇÛ À, âîò åùå, http://www.animenewsnetwork.com/interest/2017-09-19/berserk-creator-reveals-he-based-band-of-the-hawk-on-high-school-friendship/.121503
Nastanados: Ïîçäðàâëåíèÿ Ìèóðû ïî ñëó÷àþ 20-ëåòèÿ ìàíãè "Futari ecchi" Àêè Êàöó (ïå÷àòàåòñÿ â æóðíàëå Young Animal, êàê è "Áåðñåðê":
Nastanados: Åùå íåìíîãî (íàâåðíîå, ñòîèò ñäåëàòü îòäåëüíóþ òåìó). Íîâûé àðò Ìèóðû ê "̸äó è êëåâåðó""Ìàðòîâñêîìó ëüâó") https://i.imgur.com/q7VheJb.jpg https://twitter.com/3_lion/status/919213981536993282 (ñëåâà - àðò Ìèóðû ê "Ìàðòîâñêîìó ëüâó").
Ôàðíåçà: Ýì. Êàê áóäòî áû íà êîìïüþòåðå íàðèñîâàíû äàìî÷êè ýòè Îî Ìèóðà ñìåíèë ñòèëü ðèñîâàíèÿ?
Nastanados: Ôàðíåçà Îí óæå äàâíî íà ïëàíøåò ïåðåñåë, âñïîìíèòå ïîñëåäíèå ãëàâû. Ê òîìó æå, çàêîñ ïîä êàâàéíî-ñàõàðíûé ñòèëü ìàíãè Óìèíî.
Ôàðíåçà: Nastanados Äà, íî...Êàê-òî ñîâñåì "ñòðåìíî" ñìîòðèòñÿ.
Nastanados: Ôàðíåçà Ãëàâíîå, ÷òîáû îí "Áåðñåðê" íå íà÷àë â òàêîì ñòèëå ðèñîâàòü.
Ôàðíåçà:
Nastanados: Âèäåî î áèîãðàôèè Ìèóðû (íà êèòàéñêîì) http://www.bilibili.com/video/av15079207/ http://www.bilibili.com/video/av15341553/ Èíòåðåñíî åùå è òåì, ÷òî â íåì ïîêàçûâàþò ðàíåå íå âèäàííóþ ôîòîãðàôèþ Ìèóðû à òàêæå ýñêèçû ê "Ìèóðåéíäæåðàì" (åãî ïåðâàÿ ìàíãà, êîòîðóþ îí ðèñîâàë åùå â øêîëå).
sparkey: ðåïåð ãàíñòåð) íà ãîëîâå òî ëè êåïêà, òî ëè áàíäàíà òèïè÷íàÿ êóðòêà èç êîëëåäæåé, êîòîðûå íîñÿò ïðèâèëåãèðîâàííûå ÷ëåíû ôóòáîëüíûõ êîìàíä êîëåäæà íà ñàìîì äåëå èñòîðèÿ áåðñåðêà ýòî çàâóàëèðîâàííûé ïåðåñêàç òðóäíîé æèçíè â ãåòòî )))
Nastanados: sparkey Áàíäàíà. Òàì íà âèäåî âðîäå åñòü åãî ÷èáè-àâòîïîðòåò ñ íåé.
sparkey: âîîáùå ÿ íèãäå íå âèäåë ôèëüìîâ èëè àíèìå, ãäå áûëà áû îòðàæåíî óâëå÷åíèå ÿïîíöåâ ðåï êóëüòóðîé êñòàòè çàáàâíî íî â àíèìå âîîáùå êàê-òî íå ïðèíÿòî ïðî ñâîè æå ñóáêóëüòóðû ðàññêàçûâàòü à ýòèõ ñóáêóëüòóð è óâëå÷åíèé ó ÿïîíöåâ òîííû.... Åñëè óçíàòü ãîä ýòîé ôîòîãðàôèè, òî ìîæíî ñîïîñòàâèòü ïðèêèä ñ àêòóàëüíûìè èñïîëíèòåëÿìè ðýïà òåõ ëåò)) è âûÿñíèòü êîãî Ìèóðà ìîã ñëóøàòü
Nastanados: sparkey Ïîìíþ ðàçâå ÷òî â ïàðå àíèìå-îïåíèíãîâ (êîòîðûå ñåé÷àñ íå âñïîìíþ) - è òîëüêî. Íó âîò çàòî íàøåë òàêîå https://www.youtube.com/watch?v=0tO8RUhpjg0
Nastanados: Êàê âûÿñíèëîñü, ýòà ôîòîãðàôèÿ (êàê è ïî÷òè âñå ÷åðíî-áåëûå ôîòî Ìèóðû) èç "Berserk freak" - äâóõ òîìíîãî ñîáðàíèÿ èíòåðâüþ, ôîòîðàôèé è ïðî÷åãî, ñäåëàííîãî åùå â 1994-ì ãîäó. Óâû, â ñåòè ýòî äîáðî íàéòè íå óäàëîñü, íî íà ÑÊ â òîé òåìå ñêðèíû íåñêîëüêèõ ñòðàíèö îòòóäà, ñ åùå îäíèì ôîòî. http://www.skullknight.net/forum/index.php?topic=15401.msg249766#msg249766 êëèêàáåëüíî
Nastanados: Óæå äàâàë ññûëêó íà ýòó ãðóïïó https://vk.com/mangaberserk íî ñêîïèðóé, ïîæàëóé, îòòóäà êîììåíòû Ìèóðû (íå âñå ñðàçû). 1993: Âëàäåëåö ìå÷à (1) "ß äàæå è íå ìå÷òàþ î ïîåçäêå çàãðàíèöó, íî ÿ õîòåë áû õîòü ðàç â æèçíè ïîáûâàòü íà ñïà-êóðîðòå." 1993: Âëàäåëåö ìå÷à (2) ß âñåãäà öåíþ ïèñüìà ôàíàòîâ. È îòâå÷àþ òåì, êòî ïðîñèò. 1993: Óáèéöà (1) Êðèòèêà îäíîãî èç ôàíàòîâ çàñòàâèëà ìåíÿ ïåðåðèñîâàòü ïî÷òè âñå ðóêîïèñè 5ãî òîìà. Ñïàñèáî! 1993: Óáèéöà (2) Mario Kart, âîò ýòî õîðîøàÿ âåùü! 1993: Óáèéöà (3) Ïî îêîí÷àíèþ ðàáîòû ìîé àññèñòåíò òàê ñèëüíî íåðâíè÷àåò, ÷òî îí ìåíÿ äàæå ïóãàåò.
Ôàðíåçà: Nastanados ïèøåò: öèòàòà: 1993: Óáèéöà (1) Êðèòèêà îäíîãî èç ôàíàòîâ çàñòàâèëà ìåíÿ ïåðåðèñîâàòü ïî÷òè âñå ðóêîïèñè 5ãî òîìà. Ñïàñèáî! Êàêîé äîòîøíûé ôàíàòèê!
Nastanados: Ôàðíåçà Áûëî âðåìÿ, êîãäà Ìèóðà îáðàùàë âíèìàíèå íà æàëîáû ôàíàòîâ. Õîðîøî, ÷òî ñ ãîäàìè îí ñòàë áîëåå òîëñòîêîæèì, íå òî âûïèëèë áû âñþ êîìàíäó Ãàòñà è ìû áû ñåé÷àñ èìåëè "ñòàðîãî äîáðîãî Ãàòñà, êîòîðûé âñåõ ðóáèò".
Ôàðíåçà: Nastanados Ó ïèñàòåëåé åñòü òàêîå - çàâèñèìîñòü îò ôàíàòñêîãî ìíåíèÿ. Òàê Ðîóëèíã ïåðåïèñàëà èñòîðèþ â õîäå êîòîðîé äîëæåí áûë óìåðåòü Ãàððè, Ãåðìèîíà èëè Ðîí, à â ðåçóëüòàòå èç-çà íèõ âûðåçàëè ïî÷òè âñåõ ëþáèìûõ âòîðîñòåïåííûõ ïåðñîíàæåé. Ôàíàòû óìîëÿëè íå óáèâàòü ëþáèìóþ òðîéêó.
Nastanados: Ôàðíåçà Òóò ïî ðàçíîìó áûâàåò. Ïðèìåð Ðîóëèíã (à åùå ðàíüøå - Êîíàí Äîéëÿ) - ýòî íàçûâàåòñÿ "Ïðîãíóòüñÿ ïîä ôàíàòîâ", íî åñòü è ïðîòèâîïîëîæíûå âàðèàíòû, âðîäå Ìàðòèíà, êîòîðûé ïîîáåùàë íè÷åãî íå ïåðåäåëûâàòü èç èçíà÷àëüíî çàäóìàííîãî. Äðóãîå äåëî, ÷òî ó Ìèóðû ñàìîãî ïåðâîíà÷àëüíîãî ïëàíà íå áûëî, âîçìîæíî, ëèøü ê êîíöó "ÇÂ" ïîÿâèëñÿ êàêîé-òî áàçîâûé êîñòÿê ñþæåòà.
sparkey: Ôîòêà êîíå÷íî îãîíü)
Nastanados: sparkey Òÿí äóìàëè, ýòî èçâåñòíûé äèäæåé, îêàçàëîñü - Ìèóðà.
ïîëíàÿ âåðñèÿ ñòðàíèöû