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- Original article: https://gunosy.com/_a/2fb34ce96263e58c8f0cced1
- Q: When you begin creating a new manga, what do you start with?
- A: With manga you have settings like fantasy and sci-fi which are your
- sort of standard manga settings, right? That's not a bad thing, but for
- people not used to reading manga, the typical ideas presented in manga
- can be off-putting. That's why I try to start my manga from the concept
- of creating something that people who don't normally read manga would be
- able to enjoy.
- Rather than being obsessed with what the plot will be, or the genre, etc.,
- I try to think about what meaning the manga will convey to the reader, and
- what kind of situations will get a reader interested in the manga.
- Q: I see, you decide on your goal for the manga before you get started on it.
- What inspired you to use this method?
- A: Back when I decided I wanted to be create manga I mostly read one-shots and
- short works, and I had spent very little time reading any sort of long series.
- Short works seemed to me to be the perfect length, and so when I was just starting,
- I mostly drew one-shots and short pieces.
- With those kind of stories, I would have already have decided on how the story
- would go before I started drawing, and that sort of became my workflow even when
- I started doing serializations.
- While I would flesh out the details as I was drawing the work, I would basically
- never deviate too far from the story I decided on for the work.
- Q: What process do you use to create your characters?
- A: The first thing I think about is their visual appearance. Rather than drawing
- characters one at a time, I design a number of them, and then choose what I like from among
- them.
- The more time you spend drawing characters, the more you develop a sort of instinctual
- way to draw things like hairstyles, eyes, etc. Instead of having an image in my head
- and drawing based off that, it's more like I'm arranging from those parts, and
- "choosing what I like from things I instinctually drew".
- Q: How do you decide on your character's personalities?
- A: It's usually easy to guess the character's personality by looking at their
- visual appearance. I'm not aiming to create "manga-like" characters, so I don't
- try to force some very specific archetype onto the characters, like I'm not doing
- stuff like going "okay, this character will be hot-blooded" and such.
- Because I decide on the concept for the manga first, creating the characters
- comes second. Unlike some creators, I don't view the characters as the most
- important part of a manga. I also don't obsess over naming, and that usually
- is something I decide last.
- Q: Have you used the same creation process for your current serialization, "DeDeDeDe"?
- A: For DeDeDeDe I did things a little differently. I didn't have any concrete plans
- for the concept or the story; all I had decided on was the character "Ontan", both her
- visual appearance, with thick eyebrows and twin-tails, and her personality.
- I created it with the idea that the concept and the story would have her as the
- core element. Sort of like "as long as I have the character Ontan, the rest will take
- care of itself".
- Q: What made you decide to change your process?
- A: The reason I decided to switch from focusing on the concept first to focusing
- on the characters is a result of me wanting to do something different after all
- these years as a manga creator, and a result of a lot of thinking I've done about
- what it means to be a manga creator, and what kind of manga I'd like to create.
- Q: What would you say the motif is for the character of Ontan?
- A: One day I saw an idol had changed their hairstyle to twin tails, and it
- surprised me. I had always thought that twin tails was a hairstyle only anime
- characters had, and that no real girl would have them. Not only that, this idol was
- in her twenties, which made it more surprising. It made me think we've entered an
- era where even twenty-somethings can have twin tails. In my mind, that was
- inconceivable, yet here was the real world proving me wrong, and so I decided I
- shouldn't rely so heavily on my own opinions and I should take things as they are.
- Q: In addition to the twin tails, Ontan is also unique for her thick eyebrows, isn't she?
- A: That's right. The characters I used to draw would always have very small eyebrows, but
- as time went on I would draw thicker ones, and with Aiko-chan, the heroine of "Punpun", I
- made them so thick and rectangular that they looked like pieces of nori. Normally you
- would never expect the heroine of a story to have such excessively thick eyebrows, and I
- couldn't help but want to do that again.
- Q: How did you decide on the personality for Ontan?
- A: Ontan is a very intelligent and kind character, but she puts on a front of acting stupid. And that
- personality came out naturally from from her appearance, the thick eyebrows and twin tails.
- Once I began drawing, the visuals and personality matched almost perfectly.
- Q: How about the other main character, Kadode?
- A: My only initial goal when creating her was to balance her against Ontan, which is why I
- gave her glasses. As for her face, I made it by picking the most easy to draw parts I could
- think of.
- Her role in the story is mostly as someone to contrast against and show off Ontan. Her character
- is lacking in individuality, so you could say that without Ontan, she couldn't stand on her own.
- She doesn't have a personality that stands out in any way, and is somewhat of a simple character.
- That said, creating a character like that can be harder than anything.
- Q: Do you carefully plan a character out before drawing them?
- A: I prefer to quickly put them to page rather than carefully plan them. Characters that come
- out spontaneously have an instant appeal to them, and I just can't bring myself to like things
- that I've put too much thought into before creating. I'm the sort of person who doesn't do
- well at taking an image in my head and giving it a solid form.
- Due to that, when I'm creating characters, drawing something quickly like how a kid might draw
- a doodle or something is a way for me to create something that doesn't give off the feel that
- it was something I drew, and I like that the best. I try to avoid obsessing over my own
- opinions and desires.
- Q: What process do you use to create the dialogue in your stories?
- A: Up through "Punpun" I wouldn't write down anything and would have the lines and panel placement
- all in my head while I drew. The problem with that method is I'd have to remember a lot of lines
- and structure. So with "DeDeDeDe" I started writing things down. My current process is to have
- the lines written down ahead of time, and then decide on the panels as I draw.
- Q: Is there anything you focus on when writing dialogue?
- A: A lot of the dialogue in this manga is like background noise. My goal is to have it
- so that not every conversation is important or necessary for the story. If you ask me why I'm doing
- it that way, I'd say that it's because the manga's only necessary element is Ontan. Of course the story
- is important, but more important than that is showing Ontan being lively, and having her and her
- friends having fun talking with each other.
- Q: What inspired you to draw manga digitally?
- A: What initially started it was that I was bad at screen tones, and I thought that maybe a computer
- would help, which led to me experimenting along those lines.
- When I was a new artist, the main criticism I got was that my art wasn't very good. From that, I thought
- if I could improve my art, then people would like it more, which led to me trying out anything I could
- to help myself improve.
- Q: What do you think the merits of using digital tools are?
- A: What I liked the most was the feeling that whatever I was doing I was on the cutting edge, because
- it was stuff that no one else was doing. Also, when I was starting out I didn't have any money to hire
- assistants, so my theme sort of became how to do things with as few people as possible. Digital tools
- acted as sort of a replacement for an assistant, which was a big merit in itself.
- Q: Do you think you will use digital as your main process in the future?
- A: I still don't think it's possible to produce the same type of lines in digital as you can in analog.
- Analog is still better for things like drawing character outlines.
- Lines draw with pens have a lot of depth and variability to them, and while you can apply filters to
- stuff drawn digitally to make it look analog, it's still often faster to draw by hand. There may come
- a day where I switch to full digital, but I think that I shouldn't do that unless I have the resolve
- to abandon the technique I've used to this point.
- Q: It's not easy to just give up on analog, is it?
- A: The reason I still like analog is because I'm not trying to draw beautiful lines. If it was important
- to me to draw beautiful lines, then digital would be the better way to go. In my case, I love the little
- imperfections that analog produces, so I can't give it up.
- Q: What analog tools do you refuse to give up?
- A: I use a mechanical pencil when drawing rough drafts, which means I burn through erasers quickly. So
- I guess you could say I can't give up erasers. For a long time I've used the MONO eraser from Tombow Pencils.
- I don't obsess over tools for the most part, but for erasers I always use those. There is always one somewhere
- on my desk.
- Q: Having heard rumors that he is a lover of MONO erasers, the editorial department prepared a gift for him.
- A: A combination mechanical pencil/black ballpoint pen/red ballpoint pen, the "MONO graph Multi". The eraser
- on the bottom is one of Asano-sensei's beloved MONO erasers.
- Q: I brought you this pen as a present because I thought it was perfect for someone who loves MONO erasers
- like yourself.
- A: Wow, this pen's design even incorporates the style of the MONO eraser. It's great. It gives me a comforting
- feeling. That trusty "MONO"-like feeling, right?
- Q: Do you often use mechanical pencils and ballpoint pens?
- A: With manga we have the initial draft, called the "name", and I draw that on normal copy paper with a mechanical
- pencil. Even when I do the rough draft I will often use a mechanical pencil and ballpoint pens. Like this...
- It's best if a character's design can be understood even from a rough sketch, and mechanical pencils and ballpoint
- pens are perfect for doing that kind of work.
- Ballpoint pens don't vary in the lines they produce, so they're great for rough sketches, character modeling,
- or practice sketching in general I think.
- Q: How does that pen feel in comparison to others?
- A: This pen draws very smoothly, which is nice. With a smooth pen like this, I like to keep drawing until whatever
- I'm drawing is finished.
- I think that you the more you draw, the better you get, so it's best to improve your speed and draw hundreds
- of pages to get better.
- I have to say, the MONO brand is great. This design gives off the feeling that it's "my tool". I think I'll
- keep this one on my desk in the future.
- Q: Tell us about your stance towards creating things in the future.
- A: Right now I'm trying to increase the amount of things I do by hand. Even if it takes more time, my
- goal is to do as much as I can by hand.
- I've come to understand the strength of my drawing style with "DeDeDeDe". When I was doing "Punpun", I was
- focused on increasing my speed so that I could keep up with the serialization, but now I want to focus
- on the art, spend more time, and create something more manga-like.
- When I turned to digital to help speed up my process I was able to accomplish what I wanted, but it started
- to seeem like the art wasn't mine anymore. Digital is a valuable tool, but as long as I can draw, I want
- to spend a little more time focusing on that.
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