Call of the Sunday (KOTOYAMA TSUTAYA interview)

Hello, hello everyone. Your overlord who unfairly makes others post on this blog host Sakaki here with...my own dirty work. That's right I've finally shown my dirty face around here after hiding behind the efforts of Jecka and Marion for so long. Though I bring a pretty big gift --an interview with Dagashikashi and "Yofukashi no Uta" (or soon to be known in English: Call of the Night)'s KOTOYAMA! I figured with the manga recently getting lisenced by Viz (marking the first KOTOYAMA manga available officially in English) and the fact that I've been away so long that I should kill two Sundays with one translation. You can find the interview in Japanese here and as always feel free to comment with corrections or anything that seems off. Until the next time I show up, take care. Though you can expect more from Marion, Jecka (and others??) Soon. Be sure to check the twitter if you are interested in what I've been up to!

“The night is a plaything. Come and play, boy”

Ko Yamori a middle school boy out late at night for the first time, and Nazuna Nanakusa a slightly eccentric vampire meet. Nazuna delights in Ko's delicious blood and Ko wants to become a vampire. Thus begins this strange duo's nighttime rendezvous...

The nighttime tale of Boy meets Girl: Call of the Night (Yofukashi no uta) Recieved a top ten ranking prize in the 4^th annual “Everyone's choice TSUTAYA comic prize”! To commemorate this, we have an interview with the author KOTOYAMA-sensei.

“A normal on rom-com is embarrassing, so I decided to draw a rebellious one instead.”

---Congrats for taking the top 10 prize in the TSUTAYA comic ranking! Tell us how you're feeling about this.

KOTOYAMA(To be known as K): I'm overjoyed. I'm drawing what I like to draw so I have absolutely no idea as to whether people like it or not. So I'm not only happy I got this award but feel a sense of relief too.

--Let's read an excerpt of one of the voters comments during voting. “Feeling the silent depiction of the “night” has become a habit. This slightly rebellious rom-com is like a good spice!

K: It was my intent to draw a rebellious rom-com so I'm overjoyed that this was conveyed to others.

--Is there a reason why you avoided drawing a normal rom-com?

K: Due to my personality a normal rom-com is embarrassing and so I can't draw it.

--The art is sexy, the view is appetizing, and the outfit is sexy too. “Sexy” is the impression this work gives off especially in comparison to “Dagashikashi.” In fact one could get the feeling that this series is more perverse than your last one.

K: While it's not as if my approach or intentions have changed, I'd say with this series I approached it with the thought of “I'd sure like to draw the kind of perverted stuff I like.”

---(laughs) Then would you say you're drawing this series with your fetishes going full throttle?

K: Hmmm~ How do I answer this? If I were going full throttle with my interests then I don't think it'd be a manga anymore. Even when I was drawing “Dagashikashi” I've drawn with a preparedness to “show what I like without hiding”.

When it comes to things one likes it's a constant cycle of adding to them or taking from them. Intending to go full throttle and show everything or not wanting to reveal anything at all...it's that constant feeling of swaying between both, I think.

“At the beginning it was 'Multi level apartments' Within ordinary days is the extraordinary like a 'vampire'”

---What was the impetus for “Call of the Night”? What thoughts spurred you to come up with the concept?

K: At the beginning I thought “I really want to draw multi level apartments” Though multi level apartments alone wouldn't be very Shounen manga like.

--- “Multi level apartments” give off this image of the Showa era.

K: I've always liked multi level apartments. Their mysterious atmosphere is captivating. Sure they do have an image of long ago, but even now no matter where you go they remain, and I enjoy seeing them. A large multi level apartment comes off looking like a city doesn't it?

---It's like a community, huh.

K: I thought that was really neat so I wanted to draw it. Then at the time for no real reason at all –just “poof” I thought to myself “I want to draw a vampire”. Vampires are active at night, where children aren't supposed to be out, right? So then the flow of the story turned to that of night crawling.

---So these different elements linked together huh? Have you wanted to draw a fantasy manga before this?

K: I want to insert the extraordinary into the ordinary, so having a vampire in a fantasy setting wasn't my intention. It's the same thinking I had during “Dagashikashi” where “Hotaru Shidare is the fantasy element.”

---The words and scenery of the night whirl about, but it's experiencing those feelings and lingering memories that are fascinating. “Dagashikashi” had more emotional scenes toward the latter part, but it feels like “Call of the Night” had such scenes from the beginning.

K: From a long time ago, I've really liked an emotional atmosphere. Before my debut, the manga I preferred to draw only had that kind of atmosphere in them. Reflecting on that, I draw these emotional scenes in “Call of the Night” while keeping from destroying that sense of balance.

---Regulating that is difficult, isn't it?

K: At first I had another version of chapter one that was rejected; that one was more like “Dagashikashi” where the comedy was more the focus and the tempo was more crazy and foolish. Though it wouldn't have connected well with the following chapters so ultimately it was scrapped and redone.

---There's a bigger focus on monologues which feels like it goes well with the emotional scenes.

K: That wasn't my intention at first, but the editorial staff praised the monologues, and I was like “yay!” and thus ended up using them more. (laughs)

“Drawing Nazuna who has a stronger sense of self than I do”

---What kind of process went into creating Nazuna Nanakusa?

K: When it came time to create the characters, first I thought of people I like, or people I'd like to befriend. Nazuna is one of those people. As the heroine of the story, I wanted her sense of self to be more than my own.

--So she's similar to Hotaru Shidare where the girl takes the initiative?

K: Yes. I'd like to think my own maturity level is low, so I when drawing Nazuna, I wanted her to have a stronger presence than my own.

---Uniquely, Nazuna has a dirty mouth but has a terrible time with affectionate speech...it's quite fascinating.

K: Since the idea of affection was the main point of “Call of the Night”, I thought the story would end instantly if Nazuna was experienced in being affectionate. I wanted to include a component in the story that couldn't be resolved easily.

---Nazuna's cape like hoodie is really cool. Hajime Owari from “Dagashikashi” often wore coats as well. KOTOYAMA-sensei, it makes it easy for one to imagine what your tastes are like.

K: I like both, really but over-sized coats and hoodies have separate elements to them. Hajime's coat is the type a working woman would wear, right? That has it's own recognizable perks (laughs) meanwhile Nazuna's hoodie has the perks and coolness of street wear.

---I see, yes when hearing it that way they really do have different perks.

K: A hoodie due to how over-sized it is has a gap between what it looks like when one is wearing it and when they take it off, right? I like that gap, so when I'm drawing one it raises my spirit. It's kind of erotic in a way (laughs)

---That's the catch. Next let's talk about the protagonist Ko Yamori, shall we?

K: Ko's a carefree kind of guy. At a glance he doesn't look like the type who cares about others, so I thought he'd be the kind of kid that'd find heading out in a simple shorts and jersey ensemble would be suitable.

---He's not a shut in with a dark personality, just a neutral boy.

K: It's true he doesn't go to school, but I don't think of him as the type to sit in the dark at home all day either. I think of him as a true to life normal teenager when I draw him.

--- “Where would I get friends” Is something we've all worried about at one point in time, as well as puberty worries; It's somewhat surprising to see a realistic true to life teenager depicted like this...

K: I'm always concerned about that when I'm drawing him but I always keep my own maturity level and issues in mind during that time. I'm someone who didn't go into society to make something of themselves, so I probably haven't grown up much.

---Do your assistants have that experience?

K: They do. Though they're free to wear whatever they want and have never worn suits...and there isn't much conversation of our ordinary lives, we're all mostly there to help out each other at work.

“All of drawing manga is fun and painful”

---Next how about we talk about Ko's childhood friend Akira Asai.

K: She's completely different from Nazuna in every way. You can tell what kind of girl she is from a glance. She's the same as Saya Endou from “Dagashikashi” in which I approach her with a “I want to draw a girl who's my type!!” thought process.

(Everyone laughs)

K: Akira doesn't show up all that much but when she does get to play a role I enjoy drawing her.

---Plenty of cute vampire girls show up as well.

K: Each of them has a factor or factors I like. That being said they aren't perfect depictions of who I am deep down either. I'll have to practice way more to get there.

When designing them my foremost thought is just because they're vampires doesn't mean they're not going to look like humans. “Thus on that point they'd be pretty girls” is what I think when designing them.

---In regard to the characters what is easiest to draw? What's hardest?

K: Nazuna's braids always give me a lot of trouble. When I have no choice but to draw them, I regret designing her like this to begin with. (laughs)

However there are times where things are easier or harder for me to draw. When it's something that was born from within me I find it extremely easy to draw. However when a character doesn't have an aspect of myself in them, then I can't conceptualize them nor can I think of what they'd do then it becomes difficult for me to draw them.

---Do you have your fair share of troubles when drawing manga?

K: Honestly? It's all trouble. I can't really think of any part of drawing manga that isn't hard. Even with my last series I embrace that all of drawing manga is fun and painful.

However in the latter half of “Dagashikashi” I'd have moments of “I've finally gotten used to drawing manga” but with “Call of the Night” if I don't utilize every bit of that feeling, it becomes a pain.

---So is this what you meant when you wrote in the afterward of volume 3 that “my drawing style has changed”?

K: That's right. Though it's more accurate to say “I can no longer draw the same way I used to”. If I didn't approach “Call of the Night” with a different means of artistry then I'd probably think drawing manga itself was a pain.

“Isn't a girl like this cute? She's good –the establishing communication.”

---Tell us about the most popular characters and chapters with the readers.

Editorial staff (Now to be known as E): Not surprisingly Nazuna is the most popular. It feels like the readers have really taken a liking to her. As for a favorite chapter...well I'd say the entire serial has been incredibly well received.

Though the end of volume 2 with the office lady Kyosumi's arc got a favorable reception. Ko's “I can't stop (night crawling)” line only made the popularity shoot up even more.

Going off of that the end of volume 3 with the appearance of the other vampires made it crazy popular.

---There are many more characters on stage in “Call of the Night” than your previous series.

K: It may seem that way way but that wasn't what I was thinking. Though in the end there really are more characters, huh?

E: Because “Dagashikashi” had so few characters so 5 vampires appear at once left a huge impact on people. Though that being said there's been a huge reaction due to this.

---Saying that, what's your trick to drawing charming heroines?

K: Honestly I myself don't know, and would love it if someone would tell me the secret....but I take my own interests and think “this is super cute” and continue to draw with this in mind. I can only hope that my feelings will be conveyed to people who are reading.

Like a “This girl, isn't she cute” kind of question. Though if the answer is “Not really” then everything comes to an end there (laughs) However if the reader thinks “Yeah she is” then a line of communication begins. That's the kind of thing I'm going for.

“A mysterious atmosphere where one is like “yaaay!” even when in the depths of the night”

---Sensei, is there a character most like yourself in the story?

K: When creating a character I'd say that all of them start with something deep within myself. Whether it be freewheeling characters born from my emotions or those who are serious and take things seriously, they're all born from myself.

That being said although they're all born from me, I add a little something that isn't like myself to expand upon them So you could say they're all simultaneously like me while not being like me.

---So like Mahiro Seki, everyone's got a part of them that's popular?

K: Mahiru was made from me thinking “If I were like this that'd be great”. I feel like if I had a friend like Mahiru that I'd have lots of fun.

---Do the manga you draw take many inspirations from your life experiences?

K: Generally it's what I've experienced or felt but expanded and modeled a bit with manga like storytelling. Of course I've never met anyone like Ko and Nazuna when I go out at night but I think to myself “Wouldn't be fun if something like this happened” and use that as a base.

---In chapter one there was a group of drunks going “yaaaay yaaay” Was that to create a sense of mystery?

K: Oh yes they were there. It's not like they were going to become buddies and exchange addresses to talk to each other. In fact they don't talk at all after that. It's just one going “yaaaay” and the other responding in kind in an endless loop (laughs).

If the same thing were to happen during the day other would be like “Huh? What the... ewww” and such and stay away from them, but there's something about night time that makes one think “That might be fun, maybe...” The night is filled with strange sensations like that.

“Editor: Having a good mix of the finer things and the more audacious is what makes for unique storytelling”

---Are there specifics you keep in mind when drawing manga?

K: I don't have bad guys appear for the convenience of the plot. Like for example the guys who showed up during the “Night pool” chapters to hit on Nazuna, those kind of bad guys seem kind of unfair to me.

---They ended up being really nice in the end, going as far as cheering Ko on in the end. (laugh)

K: Yup, They weren't actually bad at all.

---So are there things that are off-limits for you or the characters in a story?

K: Hmm...lets say for example in my manga I draw two seater bicycles because they're easier. It's a manga and it's fiction so I'd hope when drawing people would let that slide. I wouldn't go as far as saying anything is off limits, but I want to stick to my own ethics as much as I can.

---And now the editor, what about “Call of the Night” do you find the most charming?

E: “Call of the Night” exudes KOTOYAMA-sensei's own unique charm, but if anything I think what makes it special is the combination of the delicate and the bold.

The emotions one only feels at night are unique. A boy on longer going to school, sleepless office workers, etc....there's a delicate line of things being portrayed.

On the other end of things, the charm of the female characters can't be understated. They're vampires so there's fancy action scenes. Yet “A comedy scene showing up here” is surprising enough to make one laugh and is bold in and of itself.

---On the contrary the amount of elements that are in harmony within this series are amazing too.

E: It's a delicate work that can be bold at times. Although one would think both sides are mismatched, it's the fact that they're complete opposites that bring out the unique charm of the story.

K: Thank You (laughs)

---It's been 6 years since your debut. Where's your mind at now?

K: I still think of myself as a newbie. I couldn't tell you whether the number six is big small or otherwise, but I'll never forget as a newbie how it was to start out and I'll keep doing my absolute best.

---Your previous series “Dagashikashi” was a big hit with Novels, and an anime among other things. Would you say that from the start to finish that you grew from the experience? How did it feel?

K: Many people put in tons of effort and I really have to thank them all for the developments that resulted from their heard work. I couldn't have done the various media that came from Dagashikashi couldn't have happened form me alone, so I think I'm benefiting from luck and the atmosphere of the environment and the times.

It's not as if I thought to myself “I'll work super hard so give me an anime!!” Or anything like that at all, so I'm just super happy it happened.

---It's like being given a surprise present all of a sudden, huh?

K: I don't think it was my talent at all –it was all luck.

---From the book “Dagashinado 'Uncollected art and illustration collection” one got the feeling that the tools and environment you utilized changed quite often.

K: The work behind drawing manga itself hasn't changed since old times. You still use a pen for analog drawings and apply tone finishing with a computer.

However drawing color illustrations I tried challenging myself using color tabs, and through trial and error found the iPad is the best way –that's been my go-to since.

---So it's about color works huh..

K: Yes, oh and speaking of change of environments I've had a major shake up. From “Dagashikashi” to “Call of the Night” I've gone from 8 pages to 16 and 18 pages, and from one assistant to four now.

---Would you say as you've gotten used to serialization that you've learned to draw faster?

K: I don't feel like I'm drawing faster at all. The amount of pages has gone up, however how much time I spend on color illustrations vs actually drawing has gone down. I often find myself thinking if I had more time to draw it'd be better.

---How did you recharge after “Dagashikashi” ended?

K: I played games a little more but I don't really consider that recharging. After the serialization ended I moved, and I went out drinking a lot more.

--- (laughs) “Dagashikashi”had many scenes with drinking in them during it's run. Was that too a reflection of your interests?

K: I find I have a lot of fun and feel good when drinking so I draw scenes of the characters doing the same. Personally speaking I drink a bit of beer and whiskey while wine doesn't agree with me.

“An adolescent's manga history inspired by a father's love of Katsuhiro Otomo.”

---Did you read manga as a child?

K: The first manga I recall myself reading is “Gegege Kitaro” I really like yokai. Of course I also fell in love with “DragonBall”and I'd trace pictures of Goku and Kitaro daily. This was during elementary school and kindergarten.

---Did you keep drawing through middle school as well?

K: Yes, when I started middle school, my Dad gave me Katsuhiro Otomo's manga and said “You read this too”. I read it and got hooked, and started spending time tracing those too. I remember being shocked and wondering “how much time did it take to draw this?” Dad really loved Katsuhiro Otomo. (laughs)

From there the manga I'd read repeatedly were “DragonBall” “AKIRA” and Taiyo Matsumoto's “Ping Pong.”

---Was it back then that you realized you wanted to go pro?

K: I probably had some aspirations to be a manga artist, but what I drew back then wasn't manga but actual illustrations and some scribbles here and there. I didn't start drawing manga until I was about 20 where I was an assistant and drew a few manga here and there.

---If you were to vote for manga other than your own on the TSUTAYA manga awards which would you choose? The rules are as of March 31^st 2020 it has to be an unfinished work with up to five volumes out.

K: From reading the webpage, I'd say Yama Wayama's “Muchuu sa, Kimi Ni” is the best. I also really like Kousuke Oono's “The Way of the Househusband” and Hotondo shindeiru “Isekai Ojisan” is great too.

I also think Boko no koro no yabai yatsu by Norio Sakurai is the best, as well as Isofuranbonhijiki's Kamikuzu Idol, and Tomomi Abe's “Asa ga Maiko ga mai” is amazing.

“Captivated by hip-hop's real world expressiveness”

---Besides manga, what are some other things you like that inspire you? Glancing at your twitter you're a marvel fan?

K: I do like Marvel but I'm just a fan –it doesn't influence me. Though be it in movies or the comic books, Captain America is super cool.

---Also you often tweet about Hip hop. In fact the title of this manga came from Creepy Nuts song “Yofukashi no Uta”

K: I listened to Creepy Nuts song, saw the title and was immediately inspired. In fact I thought “I can't name the series anything else.” From the start I decided on this being the title so I sought their permission and asked if I could. Not only did they readily give their consent but they also allowed use of the song for the PV. I don't think I can express in words how happy I am at that.

---Do you listen to a lot of Hip Hop?

K: Yeah. Since I was in middle school I've been hooked on Kick the Can Crew and Rip Slyme. Even now I still listen to them.

---Give us some recommendations.

K: N&P's “Sense” that's a crazy good song. The lyrics are deep and emotionally resonant.

Hip hop as a genre is generally very self congratulatory “Look at how great I am” is often the basis for a lot of the songs. However when I listened to this song I saw things from a different angle and it's unbelievably beautiful. It felt like I was seeing a park somewhere because of the lyrics and how wonderful they are, so I emplore people to go and buy it. (Laughs)

---You know your stuff.

K: Then there's “Net rap” which is a culture where rappers make original songs based on tracks uploaded to the internet.

---When you say “Net rap” you mean Rapbit, and others like them, right?

K: Yeah, The so called bad music that is Net rap was really spread through the efforts of Rapbit and others, I think.

But I don't think the music is bad as much as it is the lyrics express realness. It's shocking to find out that there's this kind of rap out there too.

I'm not all that sure if this has an effect of my work at all. However, it prods into my own sense of reality and makes me think of how amazing it is that this kind of reality is out there and can be expressed this way. I think to myself upon hearing it “I want to be able to create these kind of words too.”

---And finally a message to everyone.

K: When I'm drawing manga I ask myself 'Is this good'? When someone picks up my manga and reads, they answer my “Is this good” with a “it is” and thus our communication is established. When that moment occurs I'm overjoyed.

I can't say I know what the future holds, but I'll probably be drawing manga while asking that question, and it'd make me happy if you kept on reading “Call of the Night”. Thank you.

---Thank you for being with us today!