Hey-lo, Sunday fans. In what's become a strange tradition it's me, Sakaki updating the blog on my birthday rather than resting or doing anything else, hah. This year the day marking the beginning of my existence falls on a Sunday so it feels all that much more appropriate to have something new for you all to read. This time around is an interview with Shougakukan legends Kazuhiko Shimamoto and Kazuhiro Fujita as part of Japanese news site Comic Natalie's 15th anniversary. As always, while I have some confidence in my JP-ENG limbo dancing, I may have stepped out of tune here or there. If you notice, something speak up (nicely) in the comments. All right, let's get to the main event.
The interview can be found here in Japanese.
What Manga Have you enjoyed recently?
---Today as part of Comic Natalie's 15th anniversary celebration, We've invited two popular artists to have an interview. Now to be clear this isn't meant to be an overly formal occasion so please speak frankly about your experiences and reminiscences of the manga world over the past 15 years.
Kazuhiro Fujita (To be written as Fujita afterward): First, congratulations on the 15th anniversary Comic Natalie. The past 15 years of manga have seen a rise in digital manga and the hardware to read it and draw it, but I think the actual stories nowadays lean more towards things that are light, fluffy and leave a soothing feeling than bad endings and darker stories. Also it seems to me that there are way more manga about eating and food than before.
Kazuhiko Shimamoto (To be written as Shimamoto afterward): I wonder why there are so many food manga?
Fujita: I think it's because people are connected to each other by food and eating. Furthermore, eating and being alive are directly linked as well. The pandemic has played a part in more of these stories coming out as well. What are you reading nowadays, Shimamoto?
Shimamoto: All kinds of stuff. Jinushi's Smoking Behind the Supermarket with You for example. I've read volume one and two enough that I can recite them by heart, lol. Beyond that I've been reading this light novel called I'll Become a Villainess That Will Go Down in History: The More of a Villainess I Become, the More the Prince will Dote on Me! Or Rekishi ni Nokoru Akujo ni Naru zo: Akuyaku Reijō ni Naru hodo Ōji no Dekiai wa Kasoku suru yō desu! (Rekishi ni nokoru akujo ni naru zo) by Izumi Okido. Well, to be frank there are a ton of titles out there, and a lot of very talented people. Though if I can be brutally honest, there are plenty of series that people hype up on social media, and they are usually great for three volumes. After that it's like “oh...okay?”
Fujita: Isekai and reincarnation are currently in vogue, yeah. A ton of these series have great opening acts and are brimming with ideas, but then by the time they get to the ending they've fallen apart. There are few series that really subvert expectations in a big way, yeah?
Shimamoto: Yeah, Even if you start out strong and capture a reader's attention they won't stay for long if there's nothing there.
Fujita: I think the heart of the problem is molding the characters. A lot of the time authors don't properly flesh out and think about their protagonists and supporting cast –how they live, their views on life and death, etc. If the author doesn't understand that much then it gets difficult to grasp the characters and their movements later on in the story to move them as they want.
Shimamoto: Yeah, there's that. Also I feel like there's not enough introspection. If Volume 1 and 2 are well received then it's up to the author to analyze and understand why that is. If they grasp that then they can continue on that course through the middle and then the end of the story. However if they just rush and simply go through the motions without thinking, then the story goes haywire and you end up with something totally different than what was promised in the first volume. People who enjoyed the story then will have been totally turned off by what it became.
Fujita: I realize what we're talking about now is a trap that newbies end up falling into often, but veteran creators are aware of this too. I've been told that because I have many longer series that the middle tends to drag a bit in them. That's surprising to me because I draw with my life on the line for every single serial. This is me saying that the middle doesn't drag intentionally!!
Shimamoto: I've never drawn a series with a proper plot to begin with so no one has ever said that to me. Maybe I'd like them to once or twice, lol.
Fujita: For example, in Ushio and Tora there's a point in the story where the two protagonists travel to Asashikawa in Hokkaido. Some might say “What's the point of this filler story” but it's not a filler! It's important to the main plot down the line!
Shimamoto: I remember Ashikawa, --speaking of that one of the series that features it and came out over the last few years is Golden Kamuy which is really good.
Fujita: D—Did you just use my comment as a pivot point? (lol)
Shimamoto: No no, it's not like that I swear (lol) I was just using it as an example as a recent hit manga that has an easy to understand premise and didn't drag in the middle in the least. Also I don't want to spoil so I'll remain vague, but when it comes to manga where seeking out treasure is the ultimate goal, don't you think there are a ton of cases where the ending is a disappointment because it's like “The true treasure was the friends we made along the way” and such lol. However Golden Kamuy had a proper ending that was satisfactory and I think that's wonderful.
---I got through my aimless period with Aoi Honoo.
Shimamoto: On the topic of Comic Natalie beginning 15 years ago....what were you doing back then? In my case Aoi Honoo was in a state of limbo since the magazine it ran in, Young Sunday had ceased. I remember wondering how I should continue the series, lol.
(TN- From 2007 to 2008 Aoi Honoo was an irregular serialization in Young Sunday. However in 2009 onward, it moved to Monthly Shonen Sunday –or Gessan where it runs today.)
Fujita: I think the first time I met you was around that time...
Shimaoto: What? No way. What are you even saying? We met waaaay before that. (lol) It was in the 90s when you were drawing Ushio and Tora.
Fujita: What, for real? It was that far back? In any case the first time I really remember meeting you was at Shougakukan's end of year party. The two of us were wearing sweaters, I was in white and you in red. You spotted me and said, “Oh a Kouhaku battle huh? Let's settle this!” and struck an actual battle pose, despite you being a newbie artist!! (lol)
(TN- This is a reference to the Kohaku Uta Gassen –a program on NHK that literally means “Red and White Song Battle” where the most popular artists of the given year are split into teams of white and red –where female artists are red team and the men are white team and they compete with a judge and audience voting on the winner. This is a prestigious event as singers are only allowed to perform via invitation so only the most successful acts are able to perform.)
Shimaoto: My bad, I totally don't remember that, lol. Though it might be because at that time you were hot stuff with Ushio and Tora being super popular while I was in a slump. Not the best time for me, so perhaps I just don't want to remember.
Fujita: Oh c'mon, you weren't in a slump.
Shimamoto: No, I totally was. Blazing Transfer Student had ended, and I wasn't happy with the state of serializations in Weekly Shonen Sunday. I was constantly asking myself why I couldn't draw anything good. When I met you, you were at the zenith of the series. Though I hung in there –in the manga world the best I could, kept taking whatever work came my way and finally came out of the other end of my aimless period. It took me about 15 years or so.
Fujita: So basically Aoi Honoo was the turning point.
Shimamoto: Yep. For the first time in a while I enjoyed what I was drawing and truly thought it was a good series, and the readers agreed. Though, Aoi Honoo was meant to be a series that synergized with Rumiko Takahashi and Mitsuru Adachi's fans. In a sense it was meant to bolster their series as well.
Fujita: And how'd that work out?
Shimamoto: Well, I'd say it was a fine idea in theory, but I might have overestimated the results, lol. It doesn't seem to have bolstered much of anything honestly. Eh, we're here to talk about Comic Natalie and not me, so I'll save the salt for another time, lol.
(TN- Aoi Honoo is known for it's mean spirited comments toward other mangaka with phrases like “Poor, Sad Mitsuru Adachi” and “Rumiko Takahashi only manages to survive by having good timing!” In 2017 Adachi, Takahashi and Fujita all participated in an “Aoi Honoo victims gathering: The Roast of Kazuhiko Shimamoto.”)
Fujita: On that note, I'm glad that we were able to talk back then. While you were in the midst of serializing Blazing Transfer Student I was Yoshito Asari's assistant and I was constantly impressed with how much fun your manga was back then.
Shimamoto: For real?
Fujita: Really. In fact we used to hang out often until you moved to Hokkaido. We didn't do anything meaningful with our time though, (lol) We'd meet and end up doing things on a whim and not getting any work done. One time, a female announcer came over and we ended up recording a radio program on the spot, lol.
Shimamoto: Truue! (lol) It was “Lets Go Mangachic!” You'd be on the radio program with me regularly so I just figured you'd be fine with talking without previous notice. Lol. Stupid, huh.
(TN- “Lets Go Mangachic” is a radio program Shimamoto is a personality on.)
Fujita: Lol, yeah. We ended up talking at a different party than the one I mentioned before, and while I was minding my business Shimamoto rolled up on me and was like “Hey check out this storyboard I finished!” Once again without any warning, lol.
Shimamoto: Lmao.
Fujita: The storyboard you forced upon me was the appearance of Jubiro Fujitaka. You had the nerve to ask me “What do you think?” What am I even supposed to say to that? Lol. Though In honesty it was pretty interesting to a point that even I wanted to draw it. To be frank Shimamoto is a man who loves his drama. Anytime I'm around you I feel like something fun is going to happen. I fancy myself a pretty fun person, but Shimamoto is another level.
(TN- In Shimamoto's new series in the Moeru Pen saga: Moeru Pen RRR, Jubiro Fujitaka made an appearance. In the very same episode, His nose became “Souboutei-esque”)
(TN- Souboutei Kowasubeshi is a horror action manga by Kazuhiro Fujita that ran in Weekly Shonen Sunday from March 2016 to July 2021 for 25 volumes.)
Shimamoto: Naw. To begin with I'm not even that popular, so I need a guy like you to be a cataylist. In order for me to shine I needed a character like Jubiro Fujitaka, er, Kazuhiro Fujita to be there to to make it happen. Some manga artists don't have quite as strong a constitution, but there are very few who can be as outspoken as you and still manage to sell well.
Fujita: Is that supposed to be a compliment? Lol. And c'mon people know you. You're a famous artist.
Shimamoto: Though for real, I'm glad that I exist in the same era as you do. I mean that, truly.
Fujita: Speaking of memories I have with you, there was an event we attended in Hokkaido that was hosted by Yasuhiko Yoshikazu which I can't forget. Like, this was a prestigious event with the likes of Moto Hagio, Yumiko Igarashi, Kazuichi Hanawa, Yukinobu Hoshino, and other gods among manga artists, and yet this guy makes himself the center of attention. Though I think it's because he's so thoroughly familiar with everyone else's works that he can talk to them so casually. I think to myself, “Yeah this guy loves manga.” Even, I'd say you're a manga Elite.
Shimamoto: Ah, stop that. You're going to make me blush. See but here's the thing. At that event we had an autograph signing and Fujita here had a bunch of girls lining up to see him. I was floored! You talk about me being the center of the show but it was you. Meanwhile all I had in my line was sweaty dudes wearing backpacks...
Fujita: Hey, that's a good thing too right? Lol.
Shimamoto: Well...I guess sol (lol) Like there was one guy who asked me to write an encouraging message to his friend who was going overseas for a peacekeeping mission.
Fujita: That's awesome! You're the kind of guy who has tons of energy and can give it to people.
Shimamoto: Please don't say things like that, lol.
---About the relationship between Manga and Society.
During the past 15 years lots of unexpected events such as The Eastern Japan Earthquake, the Nuclear Power Plant accident, COVID, and abnormal weather have captured the world's attention. In fact, many of these events have yet to truly conclude and still have a great impact on the manga world. You've been involved in charity projects but can you talk about the relationship between manga and society?
Fujita: The past few years have seen more and more charity events happening. Shimamoto and I were a part of Fujihiko Hosono's call to participate in a projected called “Heroes Come back” aimed at the recovery from the Great East Japan Eathquake –but for me it's all business as usual.....drawing manga.
Shimamoto: It is important to maintain a sense of normalcy. Like when COVID was spreading, I noted a lot of talk on social media leaned toward being negative and gloomy. Of course in that talk there was plenty of information that is essential, but the tendency to get stuck doomscrolling on X (formerly twitter) is there. Which is why I try not to comment too much on the ills of the world or complain too much –preferring to keep my twitter filled with funny stories or anecdotes. Now it is presumptuous of me to think I can cheer up everyone but at the very least when someone stumbles upon my profile they don't leave feeling worse. To me it's important to keep that in mind when on social media or drawing manga.
Fujita: I'm sure occasionally you want to tweet out something negative though, right?
Shimamoto: Oh for sure! I'll write out my grievances but really think and sit on them before hitting send or tweeting them. Though overall I want people to be happy. That's why in my manga I punched Kazuhiro Fujit—er, Jubiro Fujitaka –and Fujita fans all over wanted my head, lol.
Fujita: Swing away my friend, (lol) Though to repeat, I think it's important to keep drawing manga as usual. I figure this might not be the best analogy, but it's like the band that kept on playing on the titanic as it sank. Even if an Earthquake or a Pandemic happens, we gotta keep on drawing. The sense of a daily routine is what gives readers a sense of security. Even in daily life where nothing's going on, if some kid comes home depressed after something happened in school to read Shimamoto and I fighting each other in a manga, and cracks a smile then I think all is well.
Shimamoto: Yeah, you often say that you hope people who read your manga in ramen stalls or shops are happy for the few minutes while they wait for their order. I think honestly that's amazing. If manga is going to be any use to society, this is it.
---The truth beyond fiction.
Shimamoto: Furthermore there's this story about the “Manga World” --recently the men's Basketball Team went over to Paris, France for the olympics, yeah? And the entire country was hyped about it. I'm sure Takehiko Inoue was really happy because his manga is what lead the basketball boom. Not only that but he supported the world of Basketball by creating the “Slam Dunk Scholarship.” Which isn't easy. Some time ago Captain Tsubasa's author “Yoichi Takahashi” had a similar influence on the world of soccer. Yeah these examples are pretty simple but manga can change the world itself in ways aside from sports.
Fujita: Yeah, even daily life when you encounter a problem. Remembering a scene from a manga might be what leads to an answer.
Shimamoto: Exactly. Manga, Movies and novels have that sorta power. Just because something is fictional doesn't mean it's a lie. I normally like to keep things light and not say heavy things but since we're here for Comic Natalie's 15th anniversary I'll say this –I think now more than ever it's important for Comic Natalie to take the initiative and continue reporting on the worth and importance of manga.
Fujita: Totally. People have said manga is in a tight spot for decades now. First with the computer game fad, then when the internet became widely available. And now lately with the slump in publishing people have been saying that even more than ever. Though ultimately manga remains in tandem with video games and the internet, and contrary to what has been said isn't going anywhere. That's because in any given time manga artists be they veterans or newbies create based on what they find interesting. So I hope Comic Natalie will continue to report on said manga and serve as a bridge between readers and artists like us.
Comments
Post a Comment