Interviews mit Oda

    Diese Seite verwendet Cookies. Durch die Nutzung unserer Seite erklären Sie sich damit einverstanden, dass wir Cookies setzen. Weitere Informationen zum Einsatz von Cookies
    Beachten Sie zudem unsere Datenschutzerklärung: Pirateboard.net - Datenschutzerklärung

    • Also wenn Brook schon seit 8 Jahren in Planung ist, dann ist es ziemlich sicher das er joinen wird aber man sollte diesbezüglich abwarten. Ich bin echt gespannt was wir hoffentlich nächstes Jahr von Oda präsentiert bekommen aber leider weis Oda selbst ob er wegen timing das hinkriegt. DAs mit der Überaschung könnte ja das große Ereignis sein oder was anderes zb das D.

      @Mad:
      Das mit Jimbei wäre garnicht schlecht;)
      Mein Homer ist kein Kommunist. Er ist vielleicht ein Lügner, ein Schwein, ein Idiot und ein Kommunist, aber ist kein Porno-Star!

      Grandpa Simpson
    • Mαđυillαiи schrieb:

      Ich weiß nicht wo ihr Ereignis herauslest, für mich ist "surprise" immer noch eine Überraschung 8|


      Ich weiß jetzt nicht, wie es bei vanylla war, aber ich habe alle Beiträge bis zu Ende gelesen, bevor ich meinen geschrieben habe. Dabei bin ich in vanyllas und Achilles Posts auf "Ereignisse" gestoßen, wobei mir in Achilles Post die Bedeutung klar war...

      Als ich dann jedoch geschrieben habe, was das vergessen und ich habe es einfach als Zitat Odas verstanden, welches ich dementsprechend auch interpretiert habe :whistling:

      BTW: Wir brauchen endlich einen Smilie mit Schamesröte im Gesicht...

      Mαđυillαiи schrieb:

      Ja, mit der Connection meint Oda natürlich Laboom.
      Dass Oda an diesen Skelettmann schon vor acht Jahren gedacht hat, ist schon ein weiteres Indiz für seinen Beitritt.
      Und wie Greg schon sagte, kann man das oben im Post genauer in Erfahrung bringen.


      Das ist natürlich sinnvoll, leider habe ich den kompletten zweiten Teil des Interviews nicht erneut gelesen, sonst wäre mir das wohl klar gewesen...

      Dennoch ist es jetzt ein beruhigendes Gefühl, da der Hinweis auf Brooks Beitritt damit eigentlich schon deutlich entschärft wurde.
    • Mαđυillαiи schrieb:

      Aber Para, du hast wohl Recht, dass diese Überraschung wohl nach dem FMI-Arc kommen wird..
      für mich heißt das auch, dass er etwa so lang wie der TB-Arc wird, womöglich etwas länger.. Oda ist sich dessen ja nicht noch ganz bewusst.
      Also wohl leider keine "FMI-Saga" wie bei W7 oder Skypiea.

      Habt ihr auch mal daran gdacht, dass das Ereignis auch noch vor der FMI stattfinden kann...
      In meinen Augen braucht die SHB noch eins zwei Monate bis das Thema Thriller Bark auch mit allen Nacherzählungen und Brook beendet ist... (das könnten auch gut und gerne 4 monate werden, wenn man noch an Kuma denkt)...
      Danach würde also die "suprise" kommen und sowas will auch fein vorbereitet sein...
      Damit glaube ich, dass die FMI nicht mehr dazwischen geschoben wird, da sonst nicht viel mehr als 1 Band Platz übrig bleibt^^
      Das heißt für mich... erst die "suprise", dann die FMI...
    • Naja, aber Oda hat ja gesagt, dass er eine große Überraschung innerhalb eines Jahres geplant hat, aber sich auch mit dem Timing täuschen könnte. Das klingt für mich sehr danach, dass er befürchtet, dass es nicht mehr in dem angesprochenen Jahr schaffen könnte und da ich denke, dass der TB-Arc kein ganzes Jahr mehr dauert, kann man imo schon davon ausgehen, dass die Überraschung erst nach dem FM-Arc kommt.
      Masturbating Bums are bad for Business.
    • So hier ist der dritte und letzte Teil des Interviews.
      Ein spezieller Dank geht natürlich an Greg fürs Übersetzen!

      Greg schrieb:

      Some bittersweet news here.

      It will come hard and fast in the last quarter. But don't let it get you down. This is an excellent opportunity to appreciate what you have now which is really most important in a lot of ways in life.

      Merry Christmas everyone.


      ----Not only the comic book, One Piece is also a very popular cartoon as well. It was turned into an animated program about 2 years after the serialized version started but how did that hit you?

      Oda: Well yeah, as you might expect I was thrilled it would become animated.

      Just, I was a little concerned and curious about what kind people would be making it so I really hoped they would let me meet with the director and producer soon. I was also wondering who would be doing Luffy and the gang's voices.

      Actually, with regards to the voice actors, ever since I was an assistant, from the time I wrote Romance Dawn I thought about a lot things and thought Mayumi Tanaka would be really good for Luffy. So when it was decided that she would really be doing I was pretty excited.

      ----Did you ask for her in particular?

      Actually! I hadn't said a thing about it at all and she was decided on in the end! I left everything regarding the animation to the pros because my stance was that it would be best to just shut up and get out of the way so I zipped my lips but then she ended up coming to the audition. When she actually read the lines for me I just knew, "THAT'S IT, THIS IS THE VOICE!"

      I was happy about so many aspects of the animation but the greatest joy came from having the main character being performed by the voice actress I imagined doing it.

      ----What a dramatic story! Okay, moving along could you please tell us a bit about the always popular and fantastic wealth of information found in the printed volumes, the readers' corner, SBS. What was your intent for starting it?

      When I was a child, I won't say the name, but there was a certain comic where the reader's corner suddenly dissappeared. [No mistake he's talking about Dragonball] I really enjoyed it so that came as a huge dissappointment.

      ----When you become popular you get busy with a lot of things and there seem to be a number of cases where readers' corners can't continue.

      But that didn't satisfy me. So I decided that if I ever became a manga author, I would continue the readers' corner no matter what. It's not limited to manga but the basic idea stemmed from the idea, "I don't want to make anyone endure something I wouldn't like."

      ----But isn't it difficult to write that while working on the serialization?

      Reading the postcards all at once is tough so every week I read a bit, and sort out the ones that seem like they might be good for SBS. When it's time for a volume to be released I choose the ones to use from that group. I guess that takes about a day right there. Then I also have to draw the cover for the volume so saying it isn't difficult would pretty much be a lie.

      But I already decided that this is something I have to do so even if I don't like it, it's something I won't give up. (laughs) I mean yeah it's tough, but it's also fun. Some kids just say things I won't even think.

      Everyone just writes this unbelievably stupid crap and sometimes people even suspect me like, "Are you making this up yourself?", but SBS is 100% from the post cards. I read 'em, I chose 'em, I write an answer.

      ----Well I guess that means all you SBS fans should keep churning them out! Okay, this will be the final question. I seems that it will be quite a while until One Piece reaches it's conclusion, but after that, as a manga author, what kind of motif would you like to follow it with?

      Yeah really, there are a lot of things I'd like to do. Not just limited to comics, I'd also like to make something like a movie. However, unlike before, rather than an epic tale I'm really feeling more inclined to drawing a short but tight story.

      After I finish One Piece I don't think I'll do another long-running serialized comic. After I complete it I think much like Akira Toriyama-sensei, I'll put out a single volume story every once in a while. Right now I'm really yearning for that kind of style.

      And that's exactly why right now, I'm going to put all of my energy into One Piece. If I keep thinking that this is my first and my last long-running manga, my motivation will not run dry.

      ----So you're thinking of pushing yourself to your limits.

      Well, as far as I can go without killing myself. (laughs)



      The End


      One Piece halfway? Uh, yes please.

      Also schade, One Piece scheint Odas einziger "großer" Manga zu werden.. aber gut, dass ist der jetzige Stand der Dinge.
      Vielleicht ändert der Großmeister seine Meinung nach der Vollendung nochmal..
      Außerdem können wir nach seinen Worten sicher gehen, dass er all sein Können in OP stecken wird ;)
    • naja ich hab jetzt wirklich nichts dagegen, dass op sein einziger "riesen"-manga wird, so one-shots sind auch ganz nett! (siehe "wanted", die stories sind auch alle gut!)


      aber bis es soweit ist, werden noch etliche jahre vergehen ... denke ich :)
    • Ja das wird sicher noch einige Jährchen dauern und wie seine Meinung dann sein wird, kann man jetzt auch noch nicht sagen. Vielleicht reizt es ihn doch nochmal einen länger laufenden Manga zu erfinden.
      Ansonsten merkt man, dass Oda viel Zeit und Herzblut in die ganze Sache steckt und vor allem auch in die Weiterführng der SBS-Corner. Es scheint ihm ja relativ wichtig zu sein, dass er diesen Kontakt zu den Fans hält.
      Masturbating Bums are bad for Business.
    • Extremes Thread hochholen^^

      Die meisten von euch werden das wahrscheinlich schon irgendwo aufgeschnappt haben, für alle anderen düfte es dennoch interessant sein:

      "Monkey D. Luffy, the hero of Eiichiro Oda's One Piece pirate manga and anime franchise. will adorn the cover of the January issue of Shueisha's Men's Non-No fashion magazine when it ships on Thursday. This is the first time that a manga character has been on the cover in the magazine's 24-year history"

      Hier das Cover des Magazines:





      Quelle:

      animenewsnetwork.com/news/2009…-cover-of-men-fashion-mag


      Greg aus dem AP hat sich das Magazin geholt (er ist ja Japaner) und das darin enthaltene Interview mit Oda grob übersetzt. Eine endgültige Version will er dann später auf seiner Website bereitstellen, aber für's erste ist diese auch besser als nichts:

      -It’s exactly 10 years since the animated series began and on December 12th the 10th movie will debut so to begin, you handled the story this time around, how was it?

      - At first I outright refused. I’m the kind of guy who can only take care of one thing at a time so to deal with both the comic and a story was just
      impossible. I know that about myself best so I asked them to let me off the hook but the producer who’s been good to me in the past wouldn’t give in so I explained my terms and said that if Mr. Children did the main theme then I’d do it. (laughs)



      - So that probably made your your already packed workload for the serialization even more difficult right?

      - I thought I was gonna die for sure. Even just dealing with the drafts of the serialization, there are other jobs that come in and the movie filled all of that up to the point where I was just thinking about it day in and day out. It even opened up a few gaps in the serialization and there wasn’t much left of me after the whole thing. That’s why I made a declaration to the movie staff that nothing like this would ever happen again. In exchange for that, I made absolutely sure this film will be a smash. I told them that’s the only thing they can expect me to be responsible for. I guarantee the excitement of this film.


      - It’s been 12 years since the serialization began and in that sizeable chunk of time, the tension has never once let up, it’s only gotten increasingly more exciting. Is there some trick to how you keep your readers thirsty for more?

      - I don’t think there’s any trick to it. If you’ve got a serialization that runs a good number of years, then your readers are going to become adults and there was actually a time when I worried that they might drift away. But then on the other hand, when I realized that means there are children being born too so if you don’t drift off target and aim straight then you just need to hold onto the reality that while you might lose some readers,
      they will always be replaced and that helped me come to terms with the situation. If you just believe in continuing to draw what you think is
      interesting, new readers will come and sometimes there are even cases where people who stopped reading for a while, will come back.



      - Why made you think about writing a pirate story from the start? Is there some work that influenced you to that end?

      - I don’t know if it was an influence as much as it was just a starting point but that would be the animated series ‘The Little Viking Bikke’. When I saw that, from that point on ‘adventure’ simply became synonymous with ‘pirates’ to me. Actually, I always wondered why people weren’t writing about pirates. I thought if I drew pirate stuff it would let me draw a grand adventure.


      - And oh how grand it is. You even had a ship fly through the air.

      - Anything’s possible. I set it up so that the impossible is the norm on Grand Line so I can do whatever I want. The weather is hazardous, the sea is rough, there aren’t many ways for people to come and go as they please, so it isn’t that strange if you’ve got these cultures independent of
      each other. For example, if I wanted to write about some kind of school drama story, all I’ve gotta do is draw a School Island. I can go about
      my own way as I please because of how I set it up so anything can happen.




      - Before you began serialization, did you have most of the plot decided?

      - Nope, I didn’t have much. Just the ending.



      - Huh? You know the ending? [Bad interviewer. Baaaaad. No biscuit!]

      - Yeah I know it. So however crazy I make it now, all I’ve gotta do is reach that point and if I do that, everything will be fine.



      - I don’t want to push too hard so I won’t ask anything beyond this but do you think it would be safe to consider the ending a long way off?

      - Since it’s already decided, there’s a part of me somewhere that wants to hurry up and draw the last image but in reality, I don’t think that will be for a long time. Because, I want to think about how I handle each of my characters appropriately, I don’t want to just throw away a pawn just to set up a checkmate, if I just think about writing in the moment, it’s bound to get long no matter what. Recently the crew has grown in number again and even when just one thing happens, I wind up wanting to draw all of their reactions so that takes even more time. But wanting to portray each individual character’s story like that that is something readers sympathize with me for so I just don’t want to overdo it. So when that happens no matter what I do it just ends up getting longer.



      - One Piece can really be a tear-jerker.

      - I didn’t think about myself as that kind of author. Mainly because I loved drawing action scenes. That’s something I realized about myself only
      after serialization began. That’s typical me.




      - Have you ever been writing and started to cry yourself? [Bad interviewer! BAD! In the cage!]

      - Yes definitely. Other people’s work doesn’t make me cry, but my own work makes me fall apart. (laughs) Probably because I think so hard about it.



      - Now there are 56 volumes out and whenever I read it this always amazes me but with material so much material it’s remarkable how tightly woven the story is.

      - Yeah, I’m pretty good aren’t I. (laughs) Of course I handle it on a very minute scale but when I look back on some things, there are just some things that have worked out miraculously all by their own. But I don’t want to disappoint anyone so I don’t really talk about those things. (laughs) I
      think that’s even more impressive than the things I actually intended.




      - When you’re drawing are there any rules for yourself with respect to things you absolutely will not do?

      - I like to draw party scenes. So I don’t want to draw anything that would ruin that atmosphere. And this is a manga for boys so I won’t draw anything about relationships. I get a lot of letters from female readers asking me to cover some kind of relationship but if that’s what you want to
      read, go read a girl’s manga, that’s not my job. I don’t care if someone falls for Luffy, but it’s something that would be over before you know it. But knowing Luffy, I don’t think that kind of thing would be a problem. (laughs)




      - When you were 17 the short comic WANTED! Won 2nd Place in the Tezuka Awards but when did you first want to be a manga author? [BAD interviewer! Get in the basement! Git!]

      - It’s something I had already decided by the time I was four. My dad went to the company and worked and my mom stayed at home and did chores. I thought being an adult meant doing those kinds of things but at one point, I learned that there were people who could make a living drawing pictures and it seems that I actually said, “That’s what I wanna be.”



      - When you got the Tezuka award did you think you had already made the big time?

      - There was definitely a part of me that thought I could instantly go to the top. I took manga too lightly back then. Cause I was stupid. (laughs) I
      thought if I could get that far with just that kind of work, it would be smooth sailing, so I made the pilgrimage to Tokyo and from that moment, everything came crashing down. No matter how many sketches I handed in, none of them got approved. Back then I had way too much pride in my own work, to the point where I would read someone elses’ work all the while thinking that my own was more interesting. I was a real piece of work back then. But, thankfully, I came to realize how much strength I actually lacked and when you do that, you finally see how big the wall in front of you really is. To write an interesting 19 page comic in just one week, one after another, is not something humans are capable of. I now believe that people meant to be manga authors are born into it. And that was a shock. There were times that I fell face-down and wouldn’t be able to move of my own will for a week.




      - Did you ever think about giving up on becoming a manga author? [Good interviewer! Gooood boy!]

      - Yeah I did actually. It was only once, but I thought to myself, “Well, there’s still time for me to make it as a salary man.” But I was saved by the
      words of my editor at the time. The two of us were always fighting but one day he said to me, “In all my years, I’ve never seen a guy like you
      who works so hard but has nothing to show for it.” That brought on the tears. Just those few words put me at ease and I thought about going
      for it with everything again.




      - And so One Piece was born and its popularity spread like wildfire but did you ever think it would be this big?

      - Well of course I knew that if I drew pirate stuff it would be interesting but I never thought it would happen that fast. It instantly spread and flared
      up in popularity. But since many things in this world have a way of vanishing before you know it, it’s pretty scary when I think about it.




      - What kind of things about the serialization make you happy?

      - Yeah, that’d probably have to be whenever I make a good story. I’m a wreck when I can’t do my job well. I wind up moping if I don’t feel I’ve fully
      completed a good story. More than just being unable to stand myself, if I don’t think my prints for the previous week went well, I can’t rest until I make up for it the next week. Manga is something that if I fail at, the only way I can make up for it, is with manga. I’m weird that way. (laughs) No matter how busy my private life might get, if I can’t devote time to manga I’ll just end up being frustrated. That’s just who I am. I make it harder for myself.




      - So you’re a perfectionist.

      - Only towards the comic. I’m really trailing when it comes to my private life. Yet again, I’ve only been home once this year. I’m busy so there’s no
      choice there really.




      - How do you handle your family? [Gooood interviewer! Who wants a treat?]

      - They come to stay at the workplace once a week. I have two children and they’re adorable. (laughs) I want to spend more time with them and right now that’s really bugging me. As far as work is concerned that which is ‘cute’, is a nuisance. If it’s your friend or something, and you don’t
      see them because you’re busy it’s no big deal and they’ll understand but for my kids there’s just no way that applies.




      - By the way, what characters do your children like? [Good interviewer! Who’s a cutey?]

      - They like Nami-chan. Nami-chan and Chopper. But basically it seems that they like ‘Pretty Cure’ better. And so it is that Pretty Cure is that which stokes the flames of rivalry in my heart. I wanna take Pretty Cure down. (laughs)



      - I think you probably hear this question a lot but what Devil’s Fruit would you like to eat? [BAD INTERVIEWER! WE’RE TAKING YOU TO SEE THE MAN IN THE WHITE COAT AGAIN!]

      - Purely as the dream of any man, I’d probably like to eat the Suke Suke Fruit. (laughs) But ultimately I’d probably want the Hana Hana Fruit. If I had lots of hands I could do my work much faster.



      - It’s a strange way of saying it, but you really love manga don’t you.

      - I like it and I also feel like, “Well I started this thing so…”, However, I believe that manga itself should always be ‘The Lord of Killing Time’ so I
      don’t want to cram any deep messages into it. I just write it as something that should be easy to enjoy, something you can read when you’ve got free time and at best, I’d be happy if it could help students make friends at the start of new semesters. Because that’s what can happen when lots of people read it. If everyone is reading the same manga, it doesn’t matter what school some kid came from, if you’ve got something to talk about in common, then it’s easy to make friends. Something that’s really mysterious about One Piece is that since women read it too, I’ve actually gotten fan letters that tell me mutual fandom has led to marriage. So I’m not really trying to say something about the world, I just think the reason I draw manga, or maybe you could say one of my roles in life, is to connect people.



      Da wird doch mal extrem deutlich wie viel Arbeit Oda in One Piece steckt. Ich meine Oda wird von seiner Familie lediglich einmal die Woche besucht und kommt selbst kaum nach Hause. Er hat zwei Kinder, das wusste ich nicht, ich dachte er hat nur eines. Das ältere scheint aber, lol ausgerechnet, auf Pretty Cure zu stehen, muss also auch ein Mädchen sein, na ja wird ja auch mal älter^^
      Auch wird Movie 10 wohl eine Ausnahme sein und er will sich das kein zweites mal antun, wer kann ihm das verübeln? Dafür sagt er, dass der Film eine Bombe werden soll und ich kann es wirklich kaum noch erwarten den selbst zu sehen, mann schon morgen kommt er in Japan in die Kinos...
      So was wie Beziehungen wird es in One Piece wohl auch nie geben und ich muss ehrlich sagen ich kann auch weiterhin darauf verzichten, allerdings wird er seine Story, wie von vielen ja gehofft, nicht erwachsener gestalten, sondern sein bisheriges Prinzip beibehalten. Er weiß, dass One Piece mit den Lesern gewachsen ist und fürchtet, dass das ältere Publikum deswegen allmählich auch abspringen wird, aber Nachschub an jüngeren Lesern wird es ja auch immer geben.

      Ein Ende ist aus Oda's Sicht auch noch lange nicht in Sicht, auch wenn ihm die Endszene zu zeichnen wohl förmlich in den Fingern kribbelt. Dazu ist die Story zu umfassend und er möchte jedem Charakter, dem er seine eigene kleine Story verpasste, gerecht werden. Das finde ich nur gut so, auch wenn es heißen mag, dass wir noch gut weitere 50 Bände erwarten könnten.
      Das einzige was mich an dem Interview ein wenig stört ist, dass sich solche Fragen wie "was inspirierte Sie dazu One Piece zu zeichnen und wann haben Sie den Entschluss gefasst Mangaka zu werden" in all den Interviews anscheinend ständig wiederholen. Das wissen wir mittlerweile und da gibt es doch echt wichtigere Fragen zu stellen. ;) Allerdings fand ich die etwas längere Ausführung, wie schwer es für ihn anfangs war als Mangaka Fuß zu fassen und wie es anschließend klappte, doch wieder sehr interessant.

      Mal sehen, ich werde den Beitrag vielleicht noch ändern wenn die fertige Version zur Verfügung steht.
    • I ♥ ODA - All the way
      Der Mann hat es einfach sowas von drauf und ich lese jedes Interview mit großer Freude. Er LEBT Manga, er LEBT One Piece. Er steht mit 110% hinter dem Werk und das merkt man; wenn man es liest, wenn man ihn reden hört, wenn man sieht wie viel Erfolg er damit hat und wie viele Leute er für seine Geschichte begeistern kann!!

      Gegenwärtig tauchen echt viele neue Oda-Interviews auf. Ich habe unter der Woche vom "Men's Non-No"- und "Asahi"-Interview gelesen, habe letztes Wochenende sein Radio-Interview auf Tokyo FM gehört, überdies 9 riesige Inserate in der Asahi Shinbun gesehen und und und...
      Ich hoffe sehr, dass ich in den nächsten Semesterferien wieder Zeit finde, um einen Großteil davon in Angriff zu nehmen! Es wurde zum gegenwärtigen Zeitpunkt nur ein Bruchteil seiner Interviews übersetzt...auch Zeug, das schon älter ist - seien es die Color Walk-Interviews, sei es das Interview mit Tanaka Mayumi aus 10th Treasures in voller Länge und noch viele mehr.

      Oh und was das Ende von One Piece angeht...im Interview mit der Asahi - auch diesen Monat erschienen - hat er erneut bestätigt: Wir befinden uns JETZT bei der Hälfte seiner Story. Das Große Ereignis markiert den klangvollen und beeindruckenden Endpunkt von der ersten Hälfte und diesen Höhepunkt steuert er zielstrebig an!
      Und was die zwei Kinder angeht: Ich WUSSTE es : D *dance* Das Foto mit den Seiyuu hatte zwei Kleinkinder drauf...war klar, dass beide zu Odas gehörten^^
    • Gespräch zwischen Oda und Inoue

      Ich habe gestern ein Gespräch zwischen Oda und Inoue (Mangaka von Vagabond, Slam Dunk und REAL) gefunden, wovon ich in den Sommerferien einen kleinen Ausschnitt gelesen habe. Man kann es als ein "Treffen der Giganten" bezeichnen, denn sowohl Oda als auch Inoue zählen zu den absolut erfolgreichsten Mangakas der Geschichte Japans. Und was mich ziemlich überrascht hat ist, dass beide aus Kumamoto kommen! Was es doch für unglaubliche Zufälle gibt...

      Das Gespräch ist sehr interessant, man merkt, dass Inoue sich wirklich mit One Piece auseinandergesetzt hat und auch Oda ein echter Fan von Inoue ist. Besonders interessant ist die Aussage Odas, er wolle wie Inoue eine Manga-Ausstellung machen (allerdings erst nach dem Ende von One Piece), worauf ich mich schon riesig freue. Die Ausstellung wird zwar sicherlich nicht so genial werden wie die von Inoue, aber nichtsdestotrotz wird es eine Freude für jeden OP-Fan sein^^

      Ach ja, dieses Interview klärt endlich, zu welchem Anlass Oda dieses Bild gezeichnet hat:


      Nun aber genug gelabert^^

      Inoue: This is our first time meeting, isn't it?

      Oda: Well, actually a long time ago I got an autograph from you.

      Inoue: Really!? When?

      Oda: It was at the Shueisha Tezuka/Akazuka awards party. I had just debuted then and I was extremely nervous. You also drew me a regent-style illustration of Hanamichi Sakuragi. I've still got it.

      Inoue: Is that right? I'm sorry, I don't remember that. (laughs)

      Oda: No problem. That party was like a huge autograph session for all the major creators. (laughs)

      Inoue: I was in Los Angeles around the time One Piece started and I was having Shonen Jump sent out to me.
      When I read One Piece chapter one, I remember thinking, "Wow, this is the start of a really good comic." I thought it was a can't miss piece of work. I hadn't felt that way about a comic in a while so I made sure to follow it.

      Oda: Around the time One Piece had just begun serialization, I saw a survey in a magazine asking famous people what comics interested them.
      In that survey, you had chosen One Piece and commented, "The creator really believes in his work". I almost literally jumped for joy, I was so happy. I had a copy of that page pinned up at my work place for the longest time.

      Inoue: I'm happy you were so happy! (laughs)

      Oda: Can I talk to you about something that's kind of related to destiny?

      Inoue: What is it? You're making me nervous.

      Oda: Well, I was born in Kumamoto, and there used to be a shop called the Antique House, right?

      Inoue: Yeah, the used clothing shop, right? That brings back memories.

      Oda: I used to go there every so often with friends to buy clothes. Around the time I won Jump's Best New Artist award and had just gotten an editor, I was talking to one of the shop keepers and mentioned that I wanted to be a comic creator. He replied, "If you make it big, you'll be the second one born here." "Who's the first?" I asked. "Takehiko Nariai" ('Takehiko Inoue' is a pen name). He used to work here."
      I couldn't believe it!

      Inoue: Ha ha ha! I wonder who it was you talked to?"

      Oda: He bragged that one of the Slam Dunk players was modeled after him (laughs). He also said that when the shop wasn't busy, you would be behind the cash register drawing pictures.

      Inoue: Yeah, and not doing my job at all.

      Oda: I was really surprised. I was like, Wow! Inoue sensei was here! It was just a shop I went to and I had never really thought much about it before. I felt that it must be destiny so I asked my editor to please let me be an assistant at your studio. He just casually told me "There aren't any openings." That really bummed me out.

      Inoue: Really? Boy did we mess up. We should have brought you in as an assistant. (laughs)

      Oda: If I had been accepted at your studio, it likely would have completely changed my destiny. In a lot of ways, that was probably a turning point for me. I'd always thought I'd like to talk to you about this personally.

      Inoue: Thank you. I'll remember this.

      ****** Mr. Oda, When did you start reading Vagabond?
      Oda: I read them all at once when the tankobon come out. Of course, I've got every volume. Ever since the serial started, it's been the rage amongst us young creators. It's so engaging, has deep themes... More than anything, I can't get enough of Inoue sensei's art. It's like, just how far can this guy take his artistry? I've been pursuing that ever since Purple Kaede.*

      Note: * Purple Kaede is the name of Inoue's debut comic in Weekly Shonen Jump back in 1988.

      Inoue: Well, I'm sure I've improved since way back then. However, it's weird, because when I was doing "Purple Kaede" I thought, "Hey, I'm a pretty good artist!" (laughs). Now, though, it's not something I would want to show people.

      Oda: I saw your Last Manga Exhibition work and, well... I don't even understand it's meaning - if it's good or what it is, because it's just way over my head. How can art like this even be done? Like the huge mural of Musashi, it's so big but yet the proportions aren't off even a little.

      Inoue: Actually, if you really look at it you'll see that the proportions are skewed. There are still pieces (in the exhibit) that I'm concerned about.

      Oda: I don't think so at all! Every piece is fantastic and on a level that's beyond my comprehension.
      Lately I've been really into Edo period Japanese art. People in Edo times didn't have the internet, comic stores, and I don't think they had as many forms of entertainment to occupy their time as we have now. On the flip side of that, I think they were able to dedicate more time and focus to their given craft than people nowadays are capable of. Because of that, they accomplished things on a level that average ability can't match. When I look at Edo period ink paintings, they are amazingly good. In just a casual painting, they can create unified lines that are full of life. Even art that's been drawn with extremely finely-honed skill, and with (outside) information shut off, probably can't reproduce that.
      I think that your art has attained that kind of Edo period level. I wonder how a modern person could possibly draw like this. It boggles my mind.

      Inoue: I'm humbled! (laughs)

      Oda: And at the Last Manga Exhibition, there are 150 of those drawings, right? I can't even imagine it.

      Inoue: If you're put under pressure from people, you can get a surprising amount of things done.

      Oda: I've been under the gun with deadlines, and I've managed to survive a number of times but... I couldn't go this far.

      Inoue: If it's your own art, you could do it.

      Oda: No, no, I can't! I end up looking to attain a certain goal with each page.

      Inoue: Ah, I see.

      Oda: I'm not really finished, but I get to a certain point and I'm like "okay, I'm done!" I can't seem to get to a place where I really believe in my white space.

      Inoue: For me, that white-space can be very important. It's difficult, isn't it?

      Oda: I think that's artistic sense.

      Inoue: It might be more my personality. Even with a goal in mind, getting to a certain place as planned doesn't interest me. While I'm drawing, if I start to think it's working out, I can just shut it down right there and finish. It's an irresponsible type of personality.

      Oda: Do you have a complete mental image of what you want before you begin? There are some amazing people who I hear have it down to the last line and they just follow that image.

      Inoue: I'm not sure. I guess I do have an image in my head, but it isn't absolutely clear.

      Oda: For me it's so fuzzy you'd wonder if it's a complete image at all. But as I'm drawing I get a clearer fuzzy map-like image and I just try to follow it with my pen.

      Inoue: I think that might be close to how it is for me too.

      Oda: I haven't been able to get to the level of artists who can draw decisive lines right off the bat. I have an artist friend with a photographic memory, who never forgets a drawing after only seeing it once.
      So, once he's drawn a certain character, he can draw that same character again with no visual reference at all. That's an amazing ability. I forget characters I did a while back very quickly. If I want to bring them back, I have to dig up my old work and look at it again.

      Inoue: I'm the same way. I look up my old characters all the time. I sometimes forget to draw things like inadvertent beards and other details.

      Oda: Really? That's a relief. I feel like I can carry on (laughs).

      Oda: From where do you get your ambition and inquisitiveness for your art?

      Inoue: Well, it's simple. When you look at your previous art, it's embarrassing, right?

      Oda: yeah, a little.

      Inoue: I think it comes from the feeling that you can do better.

      Oda: I always thought I was one of the more ambitious artists, but after seeing the Last Manga Exhibition, it made me feel woefully inadequate in that department.

      Inoue: No, that's not the case at all. How many years has it been since One Piece started?

      Oda: 12 years.

      Inoue: That's amazing. Doing a serialization for that long in itself makes me feel the same way.

      Oda: No way! I think that Slam Dunk is the optimum length for a long-form comic series. Initially, I had a 5 year plan for One Piece... It's taking me more than double that.

      Inoue: Reading up to the latest volume 52, it doesn't seem like it's coming to an end anytime soon.

      Oda: Yes... Thanks to (it's success)、my whole life's plan is in disarray (laughs).

      •••• From the Kojiro arch, Vagabond's art changed from pen to brush work. Mr. Oda, what do you think about that change?

      Oda: It's really cool. Even with a career like Inoue-sensei's, he's still evolving. That kind of strength of conviction is awesome. Going to brush work is amazing.

      Inoue: Actually, it's not something that should be done, is it? In a long, on-going work it hurts consistency.

      Oda: You used brush work before that, though, right?

      Inoue: I did in certain parts for effect. But the decision to start doing the whole thing that way was really just a feeling. When I began the Kojiro arch, I thought that to achieve the art I wanted I had to use a brush, not a pen. It would change the feel of my art but I wasn't particularly hung up on consistency
      throughout the work. I kind of had faith in my gut feeling at the time.

      Oda: The title logo also changed.

      Inoue: It was a time when I was asking myself what Vagabond really is. I needed some changes in order to continue doing it. The logo was one of those things that changed. The brush calligraphy of the logo up to then, however, was fantastic.

      Oda: When a creator decides, "Time to change things up!", people are very receptive, aren't they?
      For me, with One Piece vol.50, I'd decided it was the end of that part and I changed the way I put in the title logo. However, the reaction was surprisingly light (laughs). Readers - and I mean this in a good way - don't seem to very concerned about change. I think that's why creators can probably feel free to do things

      more the way that they want to.

      •••• Mr. Inoue, how do you see Mr. Oda's art?

      Inoue: It's full of an appeal that is the complete opposite of my work. It's full of life, and has the power to draw readers to specific points. Comparatively, I’m an artist that likes "subtraction". I try to fill things in as little as possible and leave something to the negative space. There is a lot of that in The Last Manga Exhibition. But, I really admire the way Mr. Oda fills his work in. I don't feel any sense that corners are being cut at all. It must be extremely difficult to shrink your work down to tankobon size, right?

      Oda: Yes, it is (laughs). I don't know, but I just can't help but draw a lot. The weekly format is set at 19 pages, but from the creator perspective I want to move the story along faster. I end up jamming as much as I can in there. There is also wanting to finish faster so I can relax.

      Inoue: Wanting to relax is something I can relate to.

      Oda: I'm probably living in haste. My panels get smaller and smaller, and I don't draw unnecessary panels. My scenes are all jam packed. First of all, there are too many characters (laughs). The story is mainly about only 5 characters, but there are so many things I want to do that it ended up being the way it is now.

      Inoue: Had you thought about the overall concept from the beginning?

      Oda: Yes. The story's end hasn't changed once since the beginning. The problem is that I haven't been able to really digest all the things that are happening along the way toward the end.
      How do you go about your storytelling?

      Inoue: Hmmm. When I begin I don't think about the overall concept or the ending at all. It's really impressive how you can think about it and stay engaged from the beginning.

      Oda: Really, it's only the goal that I've made a decision on.

      Inoue: For me, I've only recently begun to see how Vagabond will turn out.

      Oda: Is the Vagabond story following historical fact?

      Inoue: Apparently, the facts about the duel between Miyamoto Musashi and Sasaki Kojiro on Ganryu island are really sketchy. However, the recorded history is all in Musashi's favor. All that is mentioned about Kojiro is that he was a master swordsman who fought Musashi. That's why I think there's a zero point something possibility that Kojiro actually could have been deaf.

      Oda: Hmmm. Has the story moved away from the original ("Musashi" novel by Eiji Yoshikawa) and become something different?

      Inoue: Not completely, but the original parts are taking over. I haven't decided on most of the overall story, so I only move on to the next part of the stroy when I've finish the one I'm doing. I think I just pretty much repeat that little process. The next thing I know I've gone of an a tangent, and sometimes I put myself in tough spots.

      Oda: But going off on side roads like that can be surprisingly fun, can't it?

      Inoue: Yes, for sure.

      •••• What character(s) from Vagabond do you like?

      Oda: I like all the old man characters in general. They're really endearing.

      Inoue: Hahahaha!

      Oda: Yagyu Sekishusai is especially good. Especially endearing is the scene where he says out of nowhere, "Can I brag about my grandson?" What's really appealing about Inoue-sensei's work is that even when characters are developing through hardships, the endearing qualities always remain. The small text dialogue just casually snuck in makes me laugh. The scene where Musashi says "Nyanko-sensei" (Kitten-sensei) really made me laugh (laughs).
      That kind of portrayal is done in a really natural way, and makes the readers really accept the characters. Even when taking on difficult themes, I think that the skill with which Inoue-sensei makes his characters has the power to draw in a wide audience.

      Inoue: I really like drawing the old man characters. Left unchecked, all the characters would be elderly men. (laughs)

      Oda: It's fun to draw the wrinkles in the face, isn't it?

      Inoue: Once I start drawing them, I draw them incessantly. I think we both like drawing very human characters, don't we?

      Oda: I agree.

      Inoue: I think with the elderly, the more wrinkles you draw the more human they become. The more you add, the more you add to their lifespan - that's the face of the elderly, isn't it? It makes it really worthwhile to draw.

      •••• I think one thing that you two have in common is that you strive to draw your comics to convey something you really want to say.

      Inoue: That’s probably true. One Piece in particular is resolute in wanting to say something. It’s almost overflowing with that.

      Oda: I know my images are extremely busy, but I really feel compelled to draw everything that's in there. Even if it’s in the way or whatever, it’s like, “This is the sound I’m hearing now!”

      Inoue: Sounds ring out and people’s voices are everywhere; There really are a lot of things going on simultaneously in your images, aren't there?

      Oda: That’s the way it always turns out.

      Inoue: In One Piece, I get a strong impression of your feelings that there are all these sounds and people and feelings in the world. That axis in your work is strong and doesn't waiver, and I think that may be how you can sustain 12 long years of doing a serial.

      Oda: Thank you very much. The thing I want to do most in my comics is really not stories, it’s character models. I think like, “Is this style of person possible?” The time I spend doing all kinds of different designs is fun.

      Inoue: That's the complete opposite of me.

      Oda: Things like how muscular the body should be to go with a certain facial structure is something that, in the end, I pay no attention to, though (laughs). The times where I have created a certain character silhouette that no one’s ever seen before – those moments make me the happiest. And, once I’ve created it, I want to use it as quickly as possible. I create episodes for just that reason... I do that over and over, so the story gets longer and longer.

      Inoue: So that's how you've gotten all the way to 52 volumes?

      Oda: Yeah (laughs). What are the fun moments for you?

      Inoue: The fun moments are diminishing for me. The time I spend drawing wild hair is kind of fun, though. When I’m making exceptional progress, all the time I spend drawing is enjoyable, but recently I don’t really get that feeling very often. I feel a little as though I may have come to a point where I'm facing an impending crisis.

      Oda: Impending crisis?

      Inoue: Yeah. Comic creation is supposed to be something you do because you love it, right? Nothing gets you pumped up more than drawing comics, so you can keep going no matter how tough things get.

      Oda: Yeah.

      Inoue: However I’ve come to a point where, in the balance between the tough times and the fun times, if the pleasure in the work becomes diminished any further, I may not be able to go on. Right now I’m trying to somehow find my way through, because I know I have to get past this.

      Oda: For me, I don’t think I really have any feeling of crisis with my work.

      Inoue: That’s very apparent just from reading One Piece. I’m sure you have your own things to deal with, but I think it’s a long way from this kind of sense of crisis. For me, I think that I’m really being pulled in by Vagabond. It’s like the very nature of the work is affecting me. I spend so awfully much time thinking about things that have no answer. I think maybe this feeling would change if I drew some happier, simpler form of entertainment.

      Oda: Do you feel any change of pace when you go back and forth between Vagabond and Real?

      Inoue: Yes, I do. There’s a part of Real that rescues me. I can’t say it’s fun, but compared to Vagabond it is a lot easier to work on. I can get ideas just walking down the street.

      Oda: You don't normally meet sword masters in the streets.

      Inoue: Exactly (laughs)

      ----------

      Oda: It might a little late to be asking this, but what made you what to do the story of Musashi?

      Inoue: In the beginning it wasn't really a big deal. Someone recommended Eiji Yoshikawa’s “Musashi” novel to me, and it was a really good read. It was about a year after Slam Dunk had ended when I wasn't doing a serial. I wanted to get to work on something and thought I'd like to try making this into a comic. So, I made a proposal, everything went smoothly, and I got the okay to do it. At first I was completely clueless and didn't know what could be so hard about doing something like this. I just started doing it with almost no idea about the knowledge, energy and technique I would need to do an historical work. It was a real struggle.

      Oda: If you don’t seriously research historical material and stuff you can’t do it, can you?

      Inoue: If I couldn't have done that, I would have given up on it. We even floated the idea of having a specialist to check historical accuracy, but in the end decided that I would do what was within my own scope and create my own version of Musashi.

      Oda: Are the characters the same ones as the original novel?

      Inoue: The characters are pretty much the same ones, but their personalities are very different.

      Oda: The cutting down of the 70 Yoshioka was amazing.

      Inoue: In the original novel, Musashi beats the top guy, and then ends up cutting down a handful of others who attack as he makes his escape. But it seemed at that point that it wouldn't have amounted to much of a challenge (laughs). So I thought, "What if he cuts down all of them - 70 of them?" From volume 25 to 27 during the Yoshioka fight, Musashi really does cut down 70 people.

      Oda: Really....!?

      Inoue: In the middle of it, I kind of wondered why I was doing it. But I fought through and drew the entire thing.

      Oda: Without the bold lines of your art, it wouldn't have worked. It just wouldn't have held together.

      Inoue: When I decided to draw the cutting down of 70 people, I absolutely had to put the necessary energy into the art. While I was working on that, you could say I was fine tuning along the way, but it's a scene in which the art progressed very rapidly.

      Oda: Is it sometimes tough for you to draw scenes of people being cut down?

      Inoue: Yes, it is. To draw a scene in which that many people are cut dead... It really made me no longer believe in simple victory or defeat. It's a battle, so of course there is a winner and loser. However, I ended up doubting the value in victory. If you doubt what you're doing, you can't draw the comics, can you? I thought, is winning truly victory? Is it a good thing? It was tough because I was disturbed by that feeling of contradiction. However, I made a point of drawing a scene in which 70 people are cut down precisely to experience that feeling.

      Oda: The art oozes with the suffering you felt while drawing it. You can even see the creators face in their art. Until I met you today, I thought you would probably be a person similar to Musashi.

      Inoue: I'm completely different, aren't I? (laughs). I lot of people have this image of me as some ascetic monk, but that's not the case at all.

      Oda: Before we met for today’s talk, I went and asked a creator I know who has met you, "So how scary is he?"

      Inoue: Hahahaha!! Really? Did they say I was scary?

      Oda: Nope, not at all. But for my generation of comic creators, we're intimidated just by hearing the name Takehiko Inoue (laughs). I thought that if you were a scary person like Musashi, I might not even be able to speak with you... Now that I've met you, I'm relieved that you're such a nice person.

      Inoue: When I was reading One Piece, I wondered what the origin of the concept was.

      Oda: Concept?

      Inoue: Yeah. A lively pirate adventure that is full of sound everywhere and inhabited by all kinds of original characters. It's not confined by any restraints, it's free and spontaneous. It's a style that hasn't really been seen before in Japanese comics. Where did this spawn from?

      Oda: Hmmm. It was always strange to me that there weren't any boys comics about pirates. That old cartoon Vicky the Viking is the closest thing I know of. Boys, however old they get, want to go out to sea and search for treasure. Just ships at sea gets the blood pumping, doesn't it? But for some reason no one drew pirate comics!

      Inoue: I see.

      Oda: I wanted to read pirate comics since I was a kid, so if I was going to draw comics I decided I was going to use a pirate motif. It had nothing to do with thinking about whether it would sell or not. I just simply drew comics that I wanted to read. Plus, I though it was weird that Shonen Jump didn't have a pirate comic. After all, their logo is a pirate!

      Inoue: So it is! (laughs). Now it's like you've created Shonen Jump's signature property. Outstanding!

      Oda: No way. Compared to you I've still got a long way to go.

      Inoue: No no, you're being overly modest (laughs).

      •••• Is what the both of you want to do, in essence, entertainment?

      Oda: In my case, yes. If I can't make it fun for the readers, there's no point in making comics. It wouldn't be fun for me either. I don't know how it is for other creators, but creating enjoyment for the readers and for myself is what it's all about. That what I'm doing is entertainment has never been a question for me. I mean, how could I be any happier than this? I'm drawing comics that I love, and making a lot of people happy. Does it get any better than that?

      Inoue: That's fantastic.

      Oda: I...is that not the case?

      Inoue: No no, I'm not picking on you (laughs). It's exactly like you said. The best comics are definitely the ones that are fun for both the reader and the creator.

      Oda: Comics are no good if they aren't entertainment, right? It's all well and good to have something to say, to have a message, but in the end if it isn't enjoyable the message won't get through anyway. Take Vagabond - I think that especially latter parts are entertainment at the highest level.

      Inoue: That's really nice to hear. If I had no intention of publishing, and I knew no one would read, I probably wouldn't draw comics at all.

      Oda: I agree.

      Inoue: What’s amazing about Mr. Oda’s One Piece is that Luffy’s eyes are dots. That’s really something. Mr. Oda says, “Something that’s really good, is still good without adding this or that.” I think that's an expression that is really representative of him. The unwavering belief in his work is consolidated in the way he draws those black eyes. I bet that his editor and the staff around him said he should make the pupils brighter, or he should draw bolder lines and all kinds of things like that, but he didn’t budge an inch.

      Oda: Yes, in the beginning I was told a lot of things.

      Inoue: And you didn't waiver, you stuck with the dots, and you produced great results. That's brilliant. Your original inspiration of wanting to draw exciting pirate comics is what put the life into Luffy’s eyes. When I read chapter one I thought, "This guy knows what he's doing!"

      Oda: Wow, you're actually making me blush (laughs).

      •••• Mr. Oda, if you ever have the chance to do an art exhibition of your own, what type of exhibition would you like to do?

      Inoue: You don’t need a chance or anything, all you have to do is say you want to do it, and everyone around you would probably jump at it.

      Oda: To tell you the truth, I do have some interest in that. When One Piece is finished, there are a lot of things I’d like to try doing, including an exhibition. While I’m working on the serial, though, I really don’t have to capacity to work on other things. I think it’s truly amazing that you could do an art exhibition like this in the middle of doing Vagabond!

      Inoue: Well, I have put Vagabond on hiatus, though (laughs).

      Oda: But just being able to do something else while dedicated to another thing… On top of that, being able to draw the characters from your serial in a setting like that… I can’t keep up with that kind of strength. In any case, my One Piece serial is everything to me. When it’s done, I think I can begin my real life (laughs).

      Inoue: What? You mean it isn’t now?

      Oda: Right now I live for my readers.

      Inoue: That’s fantastic!

      •••• Even in saying that, if doing an exhibition became a reality for you, what kind of exhibit would you like to do?

      Oda: It would be a waste to have something that is just looking at pictures. I would like to do something on more the scope of arts and crafts and building things. I like to use my hands to build and put things together. I think I’d really like to do something with 3D models.
      Have you thought about any new types of exhibits ?

      Inoue: Hmm, well… I don’t feel that The Last Manga Exhibition represents my be all and end all. Thematically, though, I‘ve gone as far as I can go so I don’t think I could do another exhibit like this one. If I do another one, it would have to be something completely different. I think that’s probably a long way off, though. Right now my stance is that the Last Manga Exhibition is the last. I’ve said this a number of times to a number of people, but I think this exhibit has taken its best possible form right now. I really hope you can come to Kumamoto to see it.

      Oda: Only Kumamoto? You should take this overseas too! Like to New York! I bet people would love it. Mr. Yoshitaka Amano did one in New York and it was a huge success. People over there love Samurai and stuff, right?

      Inoue: Yeah, but there is dialogue too. I don’t know if I can convey that properly. You need to know something about reading and understanding manga too.

      Oda: Take a chance and don’t explain anything at all, and just leave the dialogue in Japanese. Let them feel it like readers here do.

      Inoue: I see. Maybe just having a translation beside… That’s something to think about.

      Oda: Please bring your work to the world! Vagabond is the pride of Japan.

      Inoue: No, when people say, “That would be One Piece!” there’s no comparison (laughs). I’m really glad I had the chance to talk with you today. Please come to the Kumamoto Last Manga Exhibition.

      Oda: I’ll pay a visit to my home town and check it out!!



      Quelle: Klick
    • Soso...ein Pirat mit Augenklappe....ich bin mal gespannt, was Oda uns da präsentieren wird!

      Du meine Güte. Oda ist echt bewundernswert! Wie ihr gesagt habt, man merkt, dass er für One Piece lebt und all sein Herzblut hineinsteckt um uns alle hier (manche mehr oder weniger) glücklich zu machen!
      Ich bin echt froh, dass wir erst bei der Hälfte sind. Jetzt kann ich mich auf viele weitere Jahre One Piece freuen!

      P.S: Eine Schul-Insel? Du meine Güte, das wäre ja schrecklich :D Oda war anscheinend ein eifriger Schüler^^



      Wer Hunger hat, soll essen! :D
    • Und genau desswegen kann ich es nicht leiden wenn dieser ganze Fanbase flamewar krieg anfängt. Ich war eine zeit lang in einem Naruto forum angemeldet. Nich weil ich ein riesen fan war, sondern weil es dort eine zeit lang colo,s des mangas gab. Dort habe ich den Begriff Fanboys und tards erst richtig kennengelernt. Hass Threads über One piece und Bleach waren dort standart. Aber Naruto wurde gottgleich hochgelobt. Zugegeben das war noch zu der Zeit als Naruto noch stabil war und noch nicht so viel schrott passiert ist :3
      Oda sagt uns offen, dass er alles für seinen Manga gibt. Vielleicht ist icht jeder Mangaka so engargiert wie Oda aber es ist überall gleich. Denn einen Manga zu machen ist krasse Arbeit. Ich schreibe seit 2 Jahren an einer Manga Story und mir ist aufgefallen, dass nach all dem wahnsinnigen Aufwand, den ganzen Inspirationen, die ich mit mühe übernommen habe, mein werk trotzdem nicht an gewisse Serien rankommt.

      Deswegen hasse ich es wenn Leute es mit dem bashing übertreiben. Niemand ist gezwungen etwas zu mögen, wenn es nicht mehr so gut ist wie früher. Es ist auch in Ordnung enttäuscht zu sein. Aber diese respektlosigkeit, die ich auch heutzutage in Anime communities sehe ist immernoch da.

      Ich ignoriere das ganze nur, weil ich hoffe, dass diese Flamer nur kleinkinder sind.

      Odas Interviews zu lesen ist Fun btw :3
    • Gespräch zwischen Oda und Kimura



      Letztes Jahr im September kam ein zweites Special Interview mit Oda im "Men's Non-No"-Magazin raus, ein Gespräch zwischen Oda und Kimura Takuya, einem Mitglied der in Japan sehr bekannten Boy Group Smap.

      Das Gespräch fand ich persönlich nicht so genial wie das mit Inoue, aber dennoch sehr interessant, da das Gespräch ganz andere Schwerpunkte hat, weil Kimura eben kein Mangaka ist (wie Inoue, und sich auch sehr wenig mit Mangas und so auskennt), sondern ein Sänger/Schauspieler. Auch sind die Bilder toll, ich liebe Bilder von Odas Arbeitsplatz! So unordentlich, dass es fast schon wieder gemütlich ist!

      Btw, der Mann im blauen Shirt, der immer nur von hinten zu sehen ist, ist unser hochverehrter Oda. Er darf sich halt nicht offen fotografieren lassen, um überhaupt noch friedlich irgendwo einkaufen gehen zu können, ohne gleich von Fangirls umzingelt zu werden xD

      Übersetzt wie immer von Greg, das Interview habe ich übernommen aus seiner Website "thegrandline".

      Vorwort von Greg (kleine Vorstellung von Kimura)

      Greg schrieb:

      Takuya Kimura - voted ‘Sexiest Man in Japan’ more times than I can count on both hands - has never been shy about his love of One Piece. He’s spent time on his weekly radio program praising the work and has handily won a number of (heavily handicapped) televised One Piece quiz specials. He met with Oda on July 27th 2010 for a Men’s NON-NO interview. Some of you may recall, that’s the same fashion magazine that Oda drew Luffy on the cover of around Strong World’s release back in 2009. Oda has long been aware of Kimura’s fandom first mentioning him in a shout-out from his table of contents comment with Chapter 275 (Weekly JUMP Issue 24 2003). Takuya is one of those fellows who is well aware of just how cool he is and his speech reflects that so pardon the ‘likes’ and such throughout but that’s pretty much how the man talks despite turning 39 this year. Enjoy!


      Greg schrieb:

      Special Interview: Takuya Kimura x Eiichiro Oda

      One Heart




      Kimura: So the other day I was able to go to regions affected [by the Great Earthquake of Eastern Japan] for a television program*. And we were there to cook food for people and some boys around high school age came up to me and randomly started conversations by saying things like, “Just so you know, I like One Piece more than you.” Seems there are a lot of people who are out to get me because of the ‘One Piece King: Decisive Battle’ corner on ‘SMAPxSMAP’** so they’re all like, “I’ll beat you man.” So I’m like, “Think you’ve got what it takes? Then bring it.”, and that itself was kinda funny because we went back and forth being silly about it but, because of that, I started rethinking about the ‘power’ this manga called One Piece possesses. Myself included, I feel like One Piece is a comic that gives a lot of people strength.

      Oda: Wow, now that really makes me happy. All of my hopes [for the series] are addressed in that story. I honestly think it’s a manga author’s role to connect people. So I’m really happy that some form of a relationship between perfect strangers can develop that way.

      Kimura: If you’re thinking about something that connects people then, it’s like, One Piece is unbelievable. So like, I was doing some filming for a television drama where I was going back and forth between Nemuro in Hokkaido and Tokyo for a few months and there was this lady who worked at the airport who would always give me gifts like, “Here you go.”, and they were all One Piece cell phone straps. She was all like, “They’re limited edition Hokkaido Choppers.”, being all proud and stuff. I think that’s part of it but it [One Piece] totally promotes motivation in all sorts of people.

      Oda: Actually you know, I’m really very grateful to you Kimura-san. Because since you said you liked One Piece, as a manga, it really took it to the next level.

      Kimura: Come on now, I don’t think that’s true.

      Oda: No it’s totally true. (laughs) When you said you liked it, Kimura-san, people in society were able to say, “Oh, so, it’s okay to say I like One Piece.” Especially the female fans who went through the roof after that.

      Kimura: You think so? You sure the ladies weren’t just populating the fandom in their own way?

      Oda: It’s true that they were there to begin with. They were there but they couldn’t admit it, to those around them, that they liked One Piece. But because you just casually mentioned how much you liked it both boys and girls realized, “Oh, it’s okay to admit that I like it.” And, that’s thanks to you Kimura-san. Because you said it loud and clear that you enjoy it, [the series] spread to so many people. You kind of broke the dam in the best of ways and I’m very grateful for that.

      Kimura: Even if you say so, the manga itself is the biggest force. No matter what script I’m reading I don’t usually cry but with One Piece out of nowhere I was like, “Woah, what’s happening to me?” After I finish reading and come back to the real world I think I can bring courage, friendships, real strength and those kinds of things with me. I think that’s awesome. Anyway, the words, the lines are amazing. The drawings are of course very moving but the words are probably 60% [of the enjoyment] and the pictures are about 40%. Now if you’d allow me to speak frankly Odacchi, oh, it’s cool to call you Odacchi right?

      Oda: Absolutely fine. I’m happier that way. (laughs)



      Kimura: If you wrote like scenarios for television dramas and movies, they’d be really neat. Of course, as long as your serialization continues I’m sure you don’t have time for that.

      Oda: No way, I’m flattered but I just don’t have the talent for it. You’re way overestimating me. (laughs) Actually two years ago I was cornered into writing the scenario for the One Piece movie and I learned how scary that [kind of job] really is. Even more so, in my case, the words only come to me with pictures. They don’t come to me separately so I can’t see what’s next unless I draw out the pictures first. If I try to write a bunch of words to string together [a story] the scenes just won’t mesh well with the phrases. That’s something I learned painfully well.

      Kimura: Awww. Since you’ve got all those characters and you can create all that drama I really thought if you wrote an ensemble production it’d be pretty cool.



      Oda: Kimura-san, you read it via the volume format right?

      Kimura: Yup, that’s ‘cause I wanna read it at my own pace. Speaking of that, there’s like an author’s comment corner on the inside flap of the volume right. I’m like so totally into that. I dunno if it’s okay to say this in front of the real deal but what’s up with how hyper they are? (laughs)

      Oda: Wha- you mean you read them that closely!?

      Kimura: That part’s so important. When you write that much manga people might start calling you ‘Oda-sensei’ but when you write stuff that hyper and stupid it’s like we feel closer to you or maybe like we understand more about the real Odacchi and that’s cool. How you spent your childhood and what you’re thinking about, we can get a peak at that with just those few lines. So that’s why I personally like that part more than the SBS. I mean look, SBS is you communicating with the readers right? It’s like you saying, “Here’s how I’d swing at a right underhand pitch.”, but [the flap comments] are totally one-way. There you’re the one throwing the pitches.

      Oda: Yeah, it is kinda negligent of me, isn’t it. (laughs) Then how about my recent hyper level? Are you into it?

      Kimura: Yup, it’s great. (laughs)

      Oda: But I never thought someone would be so interested in that section. Regardless, it wouldn’t be right for me to take it seriously.

      Kimura: Absolutely. That hyper stupidity is really best.



      Oda: But what you said is right on Kimura-san, at least when it comes to the people [working] closest to me, no one calls me ‘Oda-sensei’. Because that would create a barrier between us and it would be difficult to forge friendships so I put a stop to it. That’s the same kind of feeling being expressed on the section of the inner cover flap. I guess it’s kinda like, if you’re a manga author and you just shut-up and draw cool stuff, you create a kind of charisma for yourself. But that’s not for me, I’d rather be a close presence to the readers so instead I came clean of my own will and I show everyone how stupid I am. That’s why the readers really make fun of me as much as they can. (laugh) Even when I got married people kept saying a lot of stuff like, “I’m surprised someone like you could get a wife.”

      Kimura: Nah, that’s ‘cause you wrote about how your wife looks like Nami.*** (laughs) Think about it from the reader’s perspective and they were probably thinking, “This lucky bastard married someone that looks like Nami!?” Either way, the fact that they think of you as so close is pretty amazing.

      Oda: Well, I wasn’t the one who wrote that. But many types of questions come into the SBS. There are some questions I can’t answer and a lot that would be best not to answer. (laughs)

      Kimura: That’s true. I mean, Odacchi, meeting you like this, the readers might want me to delve into questions about the story more but I don’t play by those rules. You’re the root of One Piece Odacchi. If I’m talking about it with other friends it’s okay but asking ‘the root’ things I might be curious about is like a scientist looking through a microscope, it’d become scientific. It wouldn’t be a fantasy anymore.

      Oda: Wow, I really appreciate that. Everything you’re telling me today is just so wonderful to hear. (laughs) By the way Kimura-san, do you often get asked who your favorite character is?

      Kimura: All the time. I also get asked what my favorite line is.

      Oda: And what is your favorite line?

      Kimura: I like a bunch but one that motivates me in particular is, “See, it’s unbreakable.” (Vol. 17 Ch. 148) As a man that gets me worked up.

      Oda: They’re words that present Luffy in a straightforward manner.

      Kimura: If I [publicly] said which character I like best I get the feeling I’d have to carry that burden with me. But let’s just say I did kendo for many years when I was a kid so there’s a certain someone I’ve taken a shining to. (laughs)

      Oda: I see what you did there. (laughs)



      Kimura: For the most part I view many of the characters the same gender as myself pretty much equally. Not the same for characters of a different gender though.

      Oda: So there’s a special someone you’ve got a soft spot for huh.

      Kimura: Yeah. There’s someone I hold dear in my heart. (laughs)

      Oda: Kimura-san, this is a present for you.

      Kimura: No way, what the, what is this!?

      Oda: I took a shot at drawing you Kimura-san.

      Kimura: Woooah, awesome. Like, totally awesome. This is Luffy here right. And this Shanks, it’s me right? But he doesn’t have a scar on his eye and he’s got his arm too.

      Oda: When I was drawing it I didn’t know who your favorite character was and I was worried about choosing one on my own but in the end I decided on Shanks. How do you like it?



      Kimura: I’m so happy. This is actually a huge coincidence ‘cause see there’s this old-timer who’s one of my favorite superiors at work, his name’s Sanma Akashiya.****

      Oda: Yeah okay, Sanma-san. (laughs)

      Kimura: Through some means Sanma-san learned about One Piece and told me, “I’m gonna catch up to you so hold up.”, so lately we’ve been caught up in talking about One Piece stuff. So this one time I told him, “You don’t have a mustache but you’re like a buck-toothed Whitebeard.”, which is because in the world of [Japanese] comedians he’s never run away from anything. So it’s like he’s a ‘buck-toothed Whitebeard’ without any scars on his back and when I texted him that he replied, “I guess that makes you Shanks with an arm.” So that’s like, one text I’ll never delete. (laughs)

      Oda: Wow, is that so. So I guess this is fine then.

      Kimura: Oh it’s PERFECT! I’m really happy. Thank you so much.

      ------------------

      * Likely referring to Fukui television’s annual television charity event ’27-Hour Television’.

      ** SMAPxSMAP is a popular variety show in Japan starring the members of SMAP.

      *** Kimura is confusing Oda with Nobuhiro Watsuki, author of Rurouni Kenshin. Nobuhiro made a comment to that end in the JUMP table of contents page, not Oda. (Weekly JUMP Issue 52 2004)

      **** An extremely famous Japanese comedian. He’s being humorous saying it that way.
    • Oda's Deep Thoughts

      Wie vllt. einige wissen, gibt es in der WSJ jede Woche einen Abschnitt, wo die Mangaka und Editoren kleine Kommentare hinterlassen können, so natürlich auch Oda.
      Nun hat Greg, der wahrscheinlich schon dem ein oder anderen aus dem AP-Forum oder dem OP-Podcast bekannt sein dürfte, nach 4-jähriger Arbeit alle Kommentare Odas seit seinem Debüt veröffentlicht (+die Erscheinungsdaten der jeweiligen WSJs).

      Aber genug geschrieben, hier die Liste.

      Dass man jetzt keine bahnbrechenden Neuigkeiten erfahren wird, sollte klar sein, sonst hätten die sicher schon ihren Weg in den Westen gefunden. Aber auch wenn es sich nur um triviale Sachen handelt, für alle, die sich für die Person Oda interessieren (wie mich ;) ) ist das sicher eine coole Sache!

      Und natürlich ein Dankeschön an Greg, der sehr viel Zeit und Geld in dieses Projekt investiert hat - ein wahrer OP-Fan.
    • Aus dem aktuellen Kapitel Thread:

      Zitat

      A message from the author, Oda Eiichiro sensei, to all his readers, regarding One Piece's hiatus
      http://www.shonenjump.com/j/information/odacomment-html

      不覚です!
      少々我慢しすぎて事態を悪化させてしまいました。
      続きを楽しみにしてくれている読者の皆様と、
      暴れるのを楽しみにしている麦わらの一味の皆様に、
      多大な迷惑をおかけしております。
      ただ今痛ェ治療を続けております。
      次回せっかく新展開なのに、早く読んで欲しい気持ちで
      いっぱいです。少年達の2週間がどれ程長いか承知してます。
      ちょっと待っててください。

      尾田栄一郎

      This is a real blunder!
      I tried enduring a bit too much, but that just made the problem worse.
      To you, the readers who are looking forward to the rest of the story,
      and to the Strawhat crew, who are looking forward to more rampaging and going wild,
      I've really done you wrong.
      At the moment, I'm undergoing some painful treatment.
      With long-awaited developments coming up in the story next time [next chapter?], I can't wait to have everyone read it.
      I full-well acknowledge just how long two weeks can seem to young boys [he uses "shonen" here].
      Just hang in there for a bit.
      Oda Eiichiro
      CCC, AP Forums
      Worum es mir geht ist das rot Markierte. Und um die Diskussion an der richtigen Stelle fortzusetzen habe ich es hier gepostet.
      Was meint ihr könnte das sein ? Mir fielen dazu zwei Dinge an. Die Versammlung der Könige & die Bombe bei Big Mum.

      Ersters könnte den derzeitigen Stand von Dress Rosa klar stellen, jedoch denke ich das dies eher unwahrscheinlich ist, weil müsste dann nicht irgendwer vom Don dort sein oder gar er selbst. Und da wir uns grade auf dessen Insel befinden und es gut möglich ist, dass er und seine Bande hier gegen die Shb antreten, passt das mMn nicht.

      Das die Bombe hoch gehen könnte, könnte wohlmöglich das Ziel der Allianz beeinflussen. Denn einen Kaiser anzugreifen während ein anderer einen selbst angreift ist schwierig. Wenn dies nun wirklich in den nächsten 10 Kapiteln passieren, wäre es zwar rechtzeitig, jedoch würden dann die derzeitigen Aktivitäten z.B. die von Franky (Fabrik zerstören) unrelevant werden. Von daher ist es auch eher unwahrscheinlich.

      Aber was dann ? Die Vergangenheit des Dons erstmalig gegen Ende von Ph ein Thema. Von daher würde ich es nicht als die lang angekündigte Entwicklung ansehen ob wohl es zur derzeitigen Story passt. Was gibt es also noch ?

      Mit dieser Frage beende ich mal meinen Beitrag und hoffe auf gute Theorien.

      In diesem Sinne
      Jabura
    • GumGumGigantThorAxe schrieb:

      Bin Heute auf einer Japanischen seite gewessen und Eiichiro Oda hat ein Interview Hinter lassen
      Das ist kein Interview. Da schreibt nur ein besorgter Reporter, basierend auf einer früheren Aussage Odas, dass alle sich Sorgen um Odas Gesundheit machen würden, dass Oda wahrscheinlich abkratzt bevor er die Serie beenden kann wenn er so weitermacht und so weiter. Die Aussage Odas war aus einem alten Interview entnommen, wo er mal meinte, dass er sich keine Sorgen machen würde, dass die Serie gegen Ende uninteressant werden könnte, sondern eher, dass er sich Sorgen darüber macht, ob sein Körper so lange mitmachen will. Ob er das im scherzenden Ton gesagt hat oder nicht, kann ich dir leider nicht sagen, da fehlt einfach der Kontext. Der Rest des Textes besteht aus Schwarzmalerei des Artikelschreibers.

      Ich persönlich finde aber, dass der Reporter durchaus Grund zur Sorge hat. Oda ist Kettenraucher, isst noch ungesünder als ich, schläft 3 Stunden am Tag (zumindest war das letztes Jahr so, als er Film Z und die One Piece Ausstellung um die Ohren hatte), sieht seine Familie einmal die Woche und kommt auch sonst kaum raus. Tödliche Kombination, würde ich behaupten. Auch wenn Oda ein robuster Mensch zu sein scheint, so denke ich mal, dass diese wöchentliche Erscheinungen ihn auf Dauer umbringen wird - zumal er nur wenig seinen Assistenten überlässt (er zeichnet alle "lebendige" selber), seine Panels mehr als überfüllt sind und seine Colorspreads zu den detailliertesten und buntesten Colorspreads zählen die ich kenne (fast immer ist die gesamte Strohhutbande inklusive unnötiger Tiere und Hintergrund drauf). Und dann bekommt er auch noch mehr Colorspreads und Covers als der Durchschnitt. Die Redaktion hat es ja mittlerweile eingesehen und erlaubt ihm, in einem angenehmeren Pacing zu zeichnen, aber so wie wir Oda kennen findet er selber die "Pausen" am schlimmsten.

      Wie dem auch sei, zur Zeit geht es ihm auf jeden Fall besser, seine ToC-Kommentare klangen relativ entspannt, er scheint letztens auch endlich wieder aus dem Haus gekommen zu sein (hat eine bekannte Sängerin getroffen und so). Er sollte aber meiner Meinung nach auch nach einer vollständigen Genesung nicht wieder in seinem alten, stressigen Rhythmus verfallen. Alle drei Kapiteln eine Pause ist wie ich finde schon ganz gut und würde mir nichts ausmachen. Ich fände es sehr viel schlimmer wenn das Worst-Case-Szenario eintreten würde.
    • oje, das hört sich nicht gut an...
      Ich wäre ja dafür, dass er mal mehr Pausen macht. Auch, wenn soetwas für Fans natürlich kein toller Zustand ist.
      Aber solange ein Zeichner nicht das macht wie der von HunterxHunter ais Spielsuch o. ä. -.-
      Er hat sich sieses Leben zwar selbst gewählt und verdient sicherlich gutes Geld, aber wenn er wirklich so wenig schläft und seine Familie kaum sieht, wäre das vielleicht besser oder halt seinen Assistentem mehr Arbeit überlassen. Wie viele Assistenten hat er eigentlich derzeit? Es waren mal vier, wenn ich mich an One Piece red erinnere.