Three-Way Interview

Translation by: Sakaki for WSSTalkback

Part 1- Shonen Sunday 2020 No. 44

A congratulatory special discussion between Sunday authors with TV Anime!!! (Rumiko Takahshi/Kenjiro Hata/Kagiji Kumanomata).

Bringing you a passioniate free conversation between three Sunday manga artists who's works will have TV anime this fall! Pick up Sunday Super issue 11 to see the continuation!!

(Mid August in Tokyo the three manga artists gather for a exciting evening discussion.)

Rumiko Takahashi: In regards to Yashahime I designed the three main characters, checked over scripts....that sort of thing. Kumanomata, how was it for you?

Kagji Kumanomata: For me it was more of a “If you could have this atmosphere it'd be great” oh, and receiving the recordings from the voice actor auditions.

Kenjiro Hata: Did you get what you wanted?

Kumanomata: Well... they got some really good people. I'm not too familiar with anime, so I was really surprised that they got voice actors that I know...

Hata: Ms. Takahashi do you watch anime? Like movies and so on?

Takahashi: I do watch anime. In regard to movies, I saw Jurassic Park. but I've been super busy so it's been a while since I've watched any.

Hata: Whoa, that's back from 1993, right?

Takahashi: You know your stuff (laughs). Around 2000 or so a movie theater opened in my neighborhood within walking distance... so you'd think I'd have seen more but I haven't. Even with anime it's mostly old stuff, like Future Boy Conan reruns that are currently airing. ^[1]

Hata: I'm not sure if I should ask this, but if it wouldn't bother you then... what was Mamoru Oshii like?

Takahashi: There are rumors that we didn't get along, right? (laughs) Though that's not true. ^[2] Though society finds that way more interesting so I don't correct them. When the DVD and Blu Rays came out I'd be asked by others “You okay with this?” And I always respond with “What's wrong with it?”

Hata: I see! (laughs) Did you have a chance to read the plot for Beautiful Dreamer beforehand?

Takahashi: Probably. I've forgotten a lot of stuff. The director is a little older than me I think, so there really wasn't a whole lot for us to talk about... I think I went to where they were doing the filming to say hello maybe? Something like that.

Hata: Man, that's pretty awesome though. It's a piece of anime history. All us anime freaks know about it!

“The search for our major roots!!”

Takahashi: Though that's enough about me. I really like the recent chapters of Fly Me to the Moon about the spicy ramen. It's simple, but still deep. I have a good time reading the series.

Hata: Thank you!

Takahashi: Mr. Hata, I get the idea that you like drawing Superman because Hayate was like that too. Am I right about that?

Hata: I'd like to think that I draw manga from within myself that's straightforward without lies, and they just end up like that (laughs). Most of the time I just draw what I imagine, a “I really want it like this” kind of feeling. The teacher of my heart is a single man Mobile Suit Victory Gundam's director Mr. (Yoshiyuki) Tomino. He's said that his depiction of the main character; Uso Ewin is “The ideal of a young boy that I wanted to illustrate” when he conceptualized his character. I read that in a magazine once, and thought to myself “That's what I want to do too.” (laughs)

Takahashi: When did you become Koji Kumeta's assistant? ^[3]

Hata: 1998. It was around that time that Inuyasha had been serialized for two years I think.

Editor: Kumanomata, what made you decide to become a pro manga artist?

Kumanomata: Ahh... I don't really think that story is all that interesting... You know stuff like fan fiction and fan art, yeah? I used to do that a lot with my friends. Though with that you'd get really into the character one week, and then the next it'd be like “The truth is, that character is actually this!!” Which would totally throw one for a loop (laughs). So I got tired of that and decided to draw my own stuff.

Takahashi: So then you went to college and met Tetsuya Chiba? ^[4]

Kumanomata: That's right. For about half a week or so Mr. Chiba did lectures and also some grass-lot baseball. I didn't play baseball though.

Hata: That's amazing!! And Ms. Rumiko, you drew Urusei Yatsura around the time you were in college right?

Takahashi: That's right. It was around my third or fourth year. Though at the time it was an irregular serialization, I was pretty dedicated to drawing it. ^[5] Then I graduated and it became a weekly serialization, and other characters like Shutaro Mendo showed up.

“Analyzing the works” and their “troubles”..!

Hata: This is quasi-connected to talking about our time as newbies, but even now when I draw manga I often wonder things like “Am I conveying myself well?” or “This art isn't quite up to what I was hoping it'd be.” What should I do about that?

Takahashi: I see. Ultimately in saying “I want to convey this,” it's more of a thing of finding a means of being as clear as possible, right?

Hata: It's surprising.. (laughs). ...to be influenced by the reader questionnaire when you think “This! This is what I wanted!!” but then the readers don't like it.

Takahashi: I think what's most important to me is enjoying what it is I'm drawing. In that way even if I look back at it, if I remember that then that's what matters.

Hata: I see!! That's a good way of thinking.

Takahashi: Though even I have my moments of “But I had so much fun drawing this?” too (laughs). Though when it comes to the questionnaire results, after five or six years you forget about them, right?

Hata: True...!!

Takahashi: Besides Mr. Hata I can see that you're quite the studious one when you write commentary for the Newcomer Manga Awards. ^[6]

Hata: Whaaat?! Nonono, but thank you!! (blush)

Takahashi: When I'm on the selection committee the editor often remarks “What is Mr. Hata saying?”

Hata: I haven't actually won an award for manga though. For me I try to be objective and rather than yammer on about a bunch of things and risk repelling newbies, I instead write like I'm the one trying to be selected.

Takahashi: And you're really convincing... even when you're on the selection committee you understand how to value the important things, right? “Ah I see what kind of story you're trying to write.” And you do it so easily...

Hata: That's true, for example I'll read through a work once and focus on the design and artwork, then again focusing on the backgrounds. It's because I go through a work several times that I'm better able to understand what the artist was going for, and reply in a way that convinces the contributor of the merits in their work one at a time. Though to think that you've been reading my reviews too...it sends shivers down my spine (laughs).

“Art is like... this and that.”

Takahashi: Mr. Hata what did you do before you started Hayate? When did you come up with it? When you withdrew from Mr. Kumeta's place?

Hata: It was when I had my first serial in the extra magazine (Sunday Super) and it ended that was when I quit working for Mr. Kumeta. It was a year afterward that I began Hayate.

Takahashi: Was it at that time that Mr. Kumeta was using all digital art in his work?

Hata: I'm not so sure about that... but I do remember my first time doing digital art that I used a mouse to draw.

Takahashi: Whaaat?

Hata: That was actually quite normal back then! Well, mostly because there were no other tools one could use (laughs). There also wasn't a scanner so I used food wrapping paper to draw on, and then stuck that to the monitor... for the dots you'd have to leave each one by one.

Kumanomata: Y—You had to do that much...?

A Question From the Editorial Staff: When drawing manga do you start with the characters? Or the world-building?

Takahashi: World-building I suppose.

Hata: Same. I might have drafts for the characters in mind but usually nothing set in stone...

Takahashi: Though there's an interesting appeal to sort of swimming around and figuring things out as you go too (laughs). It's like taking a first step and moving forward when a serialization begins. I get the idea that creating character designs for Sleepy Princess takes a considerable amount of work... does it?

Kumanomata: The world of Sleepy Princess is basically an RPG so I take cues from that when designing clothes and whatnot. After that to keep the series from just being a straight-man/comic relief formula, I try to make it so each character has a cute impression. Finally it's just normal character design, but I have to take care in introducing them or the serialization will run into trouble...

Hata: I did that while drawing Hayate.

Takahashi: It's the same for me during Maison Ikkoku.

Hata: Huh? You mean like a character list?

Takahashi: I even made a layout of the apartment (laughs).

Kumanomata: Ooh, so like you even went as far as saying “A hole would be good here” in the Maison?

Takahashi: That's right.

Hata: Whoa!! (excited)

Question From the Editor: “What is cute?”

Hata: For me “cute” is rooted in the works that make up the Rumic World, but what about you Ms. Rumiko?

Takahashi: I suppose for me it goes back to the shonen manga I read as a child, and it was those various “cute” things that got imprinted on me... I liked how Osamu Tezuka drew animals with a sense of sexiness. Like the rabbit in Wonder 3, Bokko –there were times where she was more sexy than in her human form ...”Cute” sure is difficult to discuss. (laugh)

Kumanomata: It sure is... For me, it goes without saying that I love bears, and I'm especially obsessed over the devil bears (in Sleepy Princess)...

Takahashi: All of the demons reactions are adorable, really. The princess taking the story in completely unexpected direction is great. It's a peaceful world, and that's really important.

Kumanomata: Especially now with the edgy atmosphere I'd like to think of it as being able to go back to how things were before.

Takahashi: Do you like comedies?

Kumanomata: I do. I enjoy reading positive works about gentle worlds.

Question From the Editor: Your sleepy circumstances!!”

Kumanomata: More than sleeping, I'm more particular about my chairs. I don't want to mess up my lower back, and we do a lot of sitting.

Takahashi: Yeah, you're right about the importance of chairs.

Hata: I too like going to big furniture stores and testing out chairs to see if my lower back agrees with them!

Takahashi: A long time ago I thought I had got a great deal on a leather covered chair. I thought by now it would have been in a state of disrepair and I'd have to buy a new one, but even now it's still going strong. I think this chair and I will be together a whole lifetime. How much sleep do the two of you get each night?

Kumanomata: Due to the anime related stuff my work has increased and I'm getting less sleep as a result...

Takahashi: But it's good to be busy (laughs).

Kumanomata: I know there might be more we can discuss in regard to this theme, and I'm sorry to derail, but I'd love to hear about MAO.

“About MAO!”

Kumanomata: To pinpoint what I wanted to say –it was in volume three during Hyakka's death scene. Even though I didn't know at the time that he'd come back to life, I just had a feeling he would since the panel wasn't very big and if it were supposed to be conveyed that he'd really died then all we'd need is to see his eyes closed. I was thinking this but his eyes were wide open! I really like the panel where he had lost the light in his eyes. I'm not sure why but I've been thinking about that a lot.

Takahashi: Conversely if his eyes were closed then it really would have looked as if he was dead for real.

Kumanomata: I see. That's what you were going for!

Hata: Have you already planned out MAO's entire story?

Takahashi: Not really. I'm figuring things out as I draw it. It feels like not all of the characters are on stage. Not only that but their various stances and ambitions aren't at all clear. I can't quite say that I see it myself yet.

Hata: Maybe you're looking at it as a reader to create a polished work?

Takahashi: It's more like being lucky, probably (laughs). ...I had decided on the trigger for the story is the 1923 Great Kanto earthquake, but from there it feels like I've been mostly ad-libbing things. How will things turn out? I wanna know too (laughs). Finding photos for resources is also a big problem... that's probably the thing I'm doing the most research on for this serialization (laughs).

Kumanomata: I look forward to seeing more!

The passionate talk is also in Sunday Super issue 11 which is out now!! Don't miss it!

Part 2 - Shonen Sunday Super No. 11 2020

A congratulatory special discussion between Sunday authors with TV Anime!!! (Rumiko Takahshi/Kenjiro Hata/Kagiji Kumanomata)

(Mid August in Tokyo the three manga artists' conversation begins with a bang)

Kenjiro Hata: There's just so much I want to ask about today!!

Rumiko Takahashi: By all means (laughs).

Hata: To cut to the chase...can you tell us the particulars behind Yashahime? I was really surprised when it was announced.

Kagiji Kumanomata: I'd like to hear about this too. As an otaku myself I'm really curious.

Takahashi: I see (laughs). Well it was about 3 or 4 years ago when Mr. Katsuyuki Sumisawa and I had our first conversation about it. He's the lead writer for the Inuyasha anime, and a writer I have confidence in, plus it sounded like something the viewers would like.

Hata: I dunno if it's okay for me to ask this but let me be straight. Who'd Sesshomaru end up with? I keep trying to figure it out on my own and I can't...

(Bubble: Who shacked up with Sesshomaruuuu?!)

Takahashi: Let me say this –that's not something I really ever thought about myself. You'll just have to watch (Yashahime) to find out (laughs). Though I guess it might be tiring to think about it that much.

"The First Rumic”

Hata: There were about 30 volumes of Urusei Yatsura out when I was in elementary school, and every week when I was on my way home I'd buy one volume. I enjoyed them a lot. For some reason however I started midway through at about volume sixteen and eventually went back and bought the ones before that. So the first Sunday manga I wholeheartedly bought was Urusei, when it was in it's final stages. What about you Kumanomata? What was your first Rumic manga?

Kumanomata: I'm one who prefers to buy volumes as opposed to reading the magazine. My first one was Ranma though the serialization had already ended, so I was able to read the whole series in one go.

(Bubble: Kumanomata: I was more interested in the romance in Ranma than the fighting...)

(Bubble Hata: Akane's long hair made my heart race.)

Hata: Whoa!! Really?! I experienced Ranma 1/2 in real time as it was serialized! I even read the manga in the magazine each week. It felt like there was no time at all between when Urusei ended and Ranma began. Now that I'm a manga artist myself, it definetly feels like the speed between starting serializations is amazingly fast.

Takahashi: I was drawing Urusei around the same time as Maison Ikkoku and they both ended around the same time. So it probably isn't surprising that I took a while to recuperate after them before starting Ranma.

Hata: Um, I've always been curious about this, but in Ranma there was a chapter where Akane's hair got cut, right? It was so shocking that it was almost traumatic to me. Had you decided on doing that from the start of the story?

Takahashi: Not at all. When the serialization began I kinda wondered to myself what kind of girl Akane would be since I wasn't sure myself. So then after it ran a bit I thought I should cut her hair and change her design! Something like that. ^[7]

Hata: Ohh I see. It still had quite an effect on me (laughs). It was quite the hook for the start of the series. After Akane got her hair cut, Shampoo showed up. She's super cute, and had a huge effect on the story, y'know?

Kumanomata: I do, I do.

Editorial: Kumanomata, what does “cute” feel or look like to you?

Kumanomata: Cute to me is... Plush bears and stuff like that. That's just my personal opinion. I'd like to see more of Hata's Toast myself.

Takahashi: Ah I know what you mean. A cat finally appeared in the series but it had far less screen time than I was thinking.

Hata: Ah that's... because I love cats so much I get too into drawing them when I do... I can't accept drawing them halfway (laughs). Though they are cute... cats that is. But if we're talking cute it's not just the bears, but the stars within Princess Suyalis's skirt. Those are amazing. I wouldn't have been able to come up with that myself.

Takahashi: Moreso than the princess, I think the monsters are cute. Their reactions to the princess's completely off the wall antics are adorable~ (laughs).

Hata: The reactions of the characters really are the most important part.

Kumanomata: They're terrified when she praises them too.

“Oneshots and the night before debuts.”

Hata: Ms. Takahashi, you drew a lot of oneshots right?

Takahashi: For Big (Comic Original), and the *** anniversary I got the offer to draw one.

Kumanomata: That's amazing... that you have spare time during serializations. For me I'd be far too busy to draw anything else. Was it difficult? Like showing adolescence during the story or managing the page count? Stuff like that.

Takahashi: I like creating stories. Though it feels like I have a lot of “Middle aged old guys” as the protagonists... I'd like to cut down on that... I get done drawing those and want to draw young men and woman in Sunday instead (laughs). ^[8]

Hata: For me, I like Ms. Takahashi's Invitation to Takarazuka oneshot. I read it before I began drawing professionally and have re-read it many times since. When I had decided to become a manga artist, I thought to make myself a manga textbook of sorts, and read many oneshots. Though the one I found most fun was Takarazuka. It was a story full of heart and laughs all packed in a single oneshot.

Takahashi: Thank you.

Hata: I do analyze things like panel count, and size as well as the amount of lines and how it looks to the eye. I also consider the size of the manga manuscript paper as well as the magnification of the paper copy and thickness of the lines. I guess you can say I really dig deep into all of those aspects.

Takahashi: A—Amazing...! At the time the editorial staff had said to me “We're taking you to the Takarazuka for story ideas” and when I went I came back really wanting to draw it! (laughs)

Hata: The spread on pages 24-25 had a strong impact. I really like those pages that took place upon the stage, it was amazing to turn through them. Ah, I've started nerding out and talking too much. (sweat)

Kumanomata: When I had decided to make my debut, my relatives gave me a copy of Maison Ikkoku and said “Draw a manga like this.” And asked me “What kind of themes do you want to express in your manga?” Among other things. I was like “Whoa, while it'd be great if I could raw something like Maison, the themes I want to express in manga aren't like that!” I went back and forth with them for about an hour...

Takahashi: You're absolutely right! (Roar of laughter) I wouldn't want you to do that either... I'd prefer if one were to just sit back and read at their leisure. Even better if you don't think about anything while reading! That's what I want most!

Hata: Huuuh? Really?!

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Footnotes

• [1] Future Boy Conan (未来少年コナン/Mirai Shonen Conan) is an anime series that aired on NHK in October 1978. It was directed by famed animator Hayao Miyazaki.
• [2] Mamoru Oshii (押井守) got his start as the director of the Urusei Yatsura anime along with the first two films, Only You and Beautiful Dreamer. Readers are often curious about Takahashi's feelings about Mamoru Oshii's work on Beautiful Dreamer, and his adapatation of Urusei Yatsura. "The Time We Spoke Endlessly About the Things We Loved" and "Three-Way Interview" are two articles that are recommended so that readers can make up their own minds about her feelings in her own words. Additionally in her 35th anniversary interview with Comics Natalie she expresses her enjoyment of Oshii's work, though by contrast in her Italian interview she gave a vague answer that was more negative (though she did not name Oshii or Beautiful Dreamer explicitly).
• [3] Koji Kumeta (久米田康治) is the creator of Sayonara Zetsubo-sensei (さよなら絶望先生), Katte ni Kaizo (かってに改蔵) and Kakushigoto (かくしごと). In 1992 Takahashi mentioned that he went to see Takarazuka with her when she was researching Reserved Seat.
• [4] Tetsuya Chiba (ちばてつや) is the artist of the legendary boxing manga Ashita no Joe (あしたのジョー).
• [5] Urusei Yatsura's early publication history was fairly non-traditional. After the first five chapters were published weekly from August through September of 1978 the sixth chapter was then published in a special issue of Shonen Sunday in October or November. Takahashi then returned in February to continue Urusei Yatsura for approximately ten chapters. This was because Takahashi was still in college at this point in her life. She then returned to Urusei Yatsura through April 1979 before stopping and publishing the five chapter monthly mini-series Dust Spot!! in a special edition of Shonen Sunday. After Dust Spot!! she returned to Urusei Yatsura sporadically until March of 1980 when its continual, regular weekly publication began in earnest. Looking at the publication dates of the chapters in the first two volumes helps clarify this as well as shows that some of the chapters were rearranged from their original publication order.
• [6] The Newcomers Manga Award (小学館新人コミック大賞) is a twice annual award given by Shogakukan to find new talen (Takahashi herself won honorable mention in the shonen category in 1978). In the years since Takahashi and Hata have served as judges for the awards. You can read Takahashi's feedback on the November 2021 awards.
• [7] Takahashi confirmed in the wideban editions that she felt cutting Akane's hair gave her a better understanding of what type of character Akane was meant to become.
• [8] This would be referring to Takahashi's Big Comic Original annual short stories which includes stories such as Extra-Large Size Happiness, Happiness List, Scene of the Crime, and You Are No. 1.

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