Interviews mit Oda

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    • Interviews mit Oda

      So, das nachfolgende Interview mit Oda ist zwar in Treasure enthalten aber ich denke es lohnt sich dennoch ein seperater Thread dafür, da es erstens sehr umfangreich ist und zweitens sich deutlich von den sonstigen Interviews in der Weekly Jump abhebt, sowohl vom Umfang, wie auch vom Anspruch.

      Danke an Greg für die Übersetzung

      Greg schrieb:

      EDIT: Sorry, did this post in bits and pieces and forgot to explain what it is. It's a discussion between Oda and Tanaka Mayumi (Luffy's VA)
      Okay, started out just picking out bits but it got kinda deep so I went into some detail. Don't wanna spend time translating right now but this is basically the entire interview. Enjoy.
      When she first heard the title, Tanaka thought it was a shoujo manga.
      Her first impression of Luffy was when her son showed her an issue of Jump at which time she thought, 'What a weird art style!'.
      Oda says he was told that often at the start because he did 'dot style' eyes at a time when 'big eyes' were popular.
      When her son told her it was the most popular manga she couldn't believe it because of the art style. Then when she actually sat down and actually read tanks, it made her cry while she was riding a train. She thought, 'Well, the art may be wierd but this is alright!'

      Oda drew Luffy with Tanaka's voice in mind. Even though he wasn't sure if the story would survive in Jump, he wondered what to do about VA's and consulted his buddy from assistant days, Takei of Shaman King. They decided on Tanaka.
      Oda first met Tanaka when he was about 24-25. Tanaka says kinda like knowing him as a son. She was kinda in a mindset of telling him 'Don't just eat meat! You have to eat veggies too!', because just like Luffy, all Oda ever talks about is meat.
      Oda calls Tanaka his 'Tokyo Mother'. But recently he's learned to like fish a lot.
      [Note: OH SHIT!!! His 肉時代 (nikujidai) is coming to a close!!! He's rounding the corner of 'Ossan'!]
      Tanaka was worried whether or not she'd be able to fill the shoes of a new comic's anime version's hero. Considering her work with Jump comics her portfolio's biggest spot is obviously filled by Krillin and she was worried if that image was too strong.

      Oda was simultaneously worried that she didn't want to do it because she didn't want to do a male teen's voice.

      Tanaka said she only does shonen voices which she was cool with in her 20's-30's but she wasn't too keen on it in her 40's-50's. She reassures Oda though, that if she didn't want to do it, she wouldn't have shown up at the audition. Oda says he always believed that and that in choosing the lead they needed someone as a 'chairperson' who would be responsible for the atmosphere of the workplace and have a sense about them which is why they wanted to go with Tanaka. Tanaka says if anyone else took that 'chairperson' position not just her, but the whole team would have been made of completely different people and would have turned out completely differently. She says it was kinda something like fate that brought them together. Oda agrees and says that all he really first said was that he liked the voice of Krillin and Pazu (Laputa). Since he was a total beginner with little experience he never expected her to work with it. Tanaka admires this quality in him 'cause she says there are lots of authors who expect certain VA's to work with them since they have a popular series. Oda says if you take that kind of attitude you're taking on a certain responsibility and since you can't take responsibility for the whole thing, it's a lot better to just say 'have fun with it' from the start. There's lots of things she needs to take care of like the studio atmosphere etc. so it really shows that she's the pro here. Just from watching episode 1 he realized he met a great group of actors.

      Oda has a question for Tanaka regarding an acting thesis she proposed. She said that when she sees young people acting in scenes where they must cry, she doesn't believe they look like they're really crying and he'd like to know why. She says it's because they just think, "Gotta cry, gotta cry", and they do which she thinks is totally unnatural. She thinks when you really cry, you think to yourself, "I mustn't cry! I mustn't cry!", and this results maybe in some laughter between the tears trying to hold them back. They go back and forth on this for a bit and it's a bit dry but I see her point and I agree with her actually. In a way this is kinda important for OP because it shows how Oda feels about his controversial (at least here -_-) crying scenes. He feels that the face of someone crying out of sympathy and someone with tears just running down their face are two completely different things. He believes manga is on the same page as acting. Oda is obviously very affected by crying scenes. He believes his 'master' Tokuhiro sensei (whom he apprenticed under) can draw amazing crying faces that just make you wonder, 'How can you draw a face like that?' Oda practiced hard and realized that you must feel the same as your characters in that scene. [He must really feel this way because he mentioned something similar in his interview in Animation Log.] Oda says he doesn't do something as childish as simply drawing tears to make readers cry, first he has to be the one to cry, then and only then can he draw the scene, it's his policy. Tanaka says everyone in OP has such an excellent crying face. Oda agrees and says that even his woman have wet noses when they cry. He says that mucus is something that if you don't draw, you simply are not getting across the point and the feeling. In a fantasy world like OP, he says the one pinch of reality he wants to add is human emotion. If he doesn't do it, it will all fall apart.

      [VERY COOL HERE!! Been wondering about this!]

      Tanaka mentions it [mucus] also works for villains. She specifically mentions the Ener 'scene'! Oda says that from the very start he always drew Ener very cool and collected all for that one page. He was looking forward to the response it would draw that week.

      Tanaka mentions that Morikawa did a great job as Ener and it's hard to believe he's the same guy who did Hacchan. Oda says that expressions are something he makes a big deal over. It makes the character's acting.

      They talk at length about conveying expressions and feelings, mostly comedy, and Oda complements Tanaka for her opinions and experience. She says that it's a comedian's job to convey certain feelings like rushing to ride a train, missing it and then pretending like you didn't want to ride. Or tripping in public and acting like you meant to. Oda asks if there are differneces between the real expressions and the ones comedians must express and she agrees and admits it's a problem of adjustment for those acting to get it right. Oda believes it isn't important for a character to say what they're feeling as much it is for the characters around said character to bring out the feelings with their actions. Oda believes that having characters express themselves directly through lines just so that children can understand is no difference from reading a novel and he's not writing a novel, he's writing manga. You have to do it all with expressions.

      Tanaka says (because she's an old lady) she likes the drama in the series the best. Oda says he tries with all his heart to make the story "A battle with drama". He admits shonen manga really stems from feelings of 'I wanna be strong' and 'I wanna fight strong guys'. Oda says the reason he wants to go beyond that and infuse it with drama is because of (wait for iiiiiiiiiiiiiiiiit)

      Dragon Ball.

      If all he drew was a battle comic it would be compared to DB and he would instantly be crushed in the history of manga. It was something he had to avoid in order to survive.

      Tanaka recalls that Kappei read his lines from the scene where they part with Merry and it made her cry which she got mad about since it was before recording.

      Oda reflects on the Merry scene and says that even for OP it's a huge leap into the realm of fantasy, a talking ship. When he drew it, of course he cried and worked extremely hard on it but he was deeply concerned about how people would accept it. He was surprised that it had such a deep emotional response from fans.

      Tanaka wonders if it was even necessary considering the heavy impact of Luffy VS Usopp and comments on what a wonderful character is. Oda says he's the closest to a human in the series with everyone else being super human. He feels that as Usopp slowly gets stronger, his readers can feel the same way and get stronger too. Tanaka loves how when Luffy and team go off leaving Nami and Usopp behind then they both say, "Counting on you -_-;" Oda says there are certain things he wants to keep the same because it will just upset the balance. No matter who joins, he always wants Usopp to be the weakest, he always wants Chopper to believe Usopp's lies. There are just some weaknesses he wants them to carry.

      They're asked if they have any requests for one another.

      Oda takes a paragraph to say he wants Tanaka to stay the same and do as she always does. She asks if he means it since he says it so much. He says yeah, he even likes how she plays tricks on others because she thinks about how the person she plays tricks on will enjoy it later. Tanaka says she sometimes says too much because she ate the Pera Pera no Mi (a footnote describes it as a fruit she concocted that will let anyone say anything without reservation, the footnote also says 'it will not appear in the manga.........or just maybe....'. perapera means speaking freely or speedily. )

      Tanaka just requests that Oda keep up the drama because it's great for the 'Ma and Pa's' of Japan to enjoy. In response to this, Oda says he has a new ambition. He relates how many children grow up and read manga and then read it to their kids thinking about how nostalgic it is, but he admits there's a blank where most people just stop reading it in their life. He wants to erase that blank and make it so people can enjoy it throughout their entire lives. He wants parents and children to be on the same level of fandom. Tanaka questions whether or not he hasn't already succeeded. Her son is 20 and she and him have different opinions and discussions regarding the series. As a parent she loves Kureha's line, "Go on, ya idiot son!", and her son loves Hiruruk's line, "I enjoyed my life to the fullest!"

      ...........oh man, this next part......

      Damn you Oda! Damn you and your cutting straight through my heart strings!!!! I guess because he's specifically talking about my age and what I'm planning on doing in the near future this is why this resonates with me. I'll just quote them here.

      Tanaka: Since this began publication, readers who were in middle school are just about to get married aren't they?

      Oda: Yeah. Readers now have their own families and until their children become old enough to read, I'll do my best continuing One Piece.

      Tanaka: And I'll continue to put your words onto the screen.

      Greg schrieb:

      Okay, here's the main idea of Oda's message from the insert. It's the last of the messages and EASILY ends on the most exciting and mysterious note.

      He calls it: POLICY SUPLEX HOLD!

      Oda says this will be the last of the 'inside stories' in this series, obviously since the 10th Anniversary releases are essentially done now. This time he's not gonna give an 'inside story', rather his 'inside policy'.

      This is really cool and something I didn't realize until now.

      'So what's a pirate?', he asks. He says that when you ask someone to draw a pirate you'll get a dingy guy with a mustache, beard, hat and.....oh yeah.......the requisite eye-patch.

      He draws a picture of a guy with an eye-patch and calls him a pirate. He draws the same picture WITHOUT the eye-patch and ponders, "Is he just some old dude?" He believes there's this image that 'Eye-patch = Pirate" just as much as "Afro = Champion".

      Have you realized it yet?

      That's his 'inside policy'.

      " 'The crap!!?? It's not like all freakin' pirates wear eye-patches! No way! You can draw 'em without resorting to that!', is kinda how I feel about it.", he says. By doing this, he says he didn't limit himself to a stereotype and started with a simple story about a adventure with a young boy at sea. If we all have an image of what pirates are supposedly to be like in our heads, Oda thought he'd simply draw how a boy gets to that point.

      And here's the bait.

      He says he's got nothing against eye-patches though. In the end of the giant tale that is One Piece....there will be a certain 'eye-patched pirate' that will appear. Just talking about it makes him excited to draw it.

      Da dies ein langes Interview ist, werde ich die wichtigsten Fakten mal zusammentragen. Es geht also um ein Gespräch zwischen Oda und der Stimme von Luffy. Sie sagt, dass sie One Piece zunächst komisch fand, was vor Allem mit dem Zeichenstil zusammenhängt, da in Japan die Augen sehr groß gezeichnet werden und Oda sich für einen anderen Weg entschieden hat, sie eben klein zu zeichen.
      Aber als sie sich die Geschichte im Zug mal zu Gemüte geführt hat, war sie begeistert davon.

      Weiterhin geht es darum, dass Oda etwas besonderes schaffen wollte, er sich aber der Tatsache bewusst war, dass wenn er einen Kampf Manga macht, dieser sich an DB messen lassen muss und keine Chance hat, dauerhaft zu überleben, also musste er ein anderes Element einbauen, nämlich die Dramatik.

      Auch geht es weiter darum, dass er zum Beispiel, bei dem Zeichnen der Abschiedsszene der Going Merry selbst weinen musste und dass er versucht, auch mit solchen Emotionen weiterhin Erwachsene an den Manga zu binden. Er erwähnt selbst, dass er sich des Shonen Schemas bewusst ist aber versucht, einen Manga sowohl für die Kinder, wie auch für die Erwachsenengeneration zu zeichen. Er will einen Manga schaffen, den jede Altersklasse immer lesen kann.
      Eine große Aufgabe, wie ich finde.
      Interessant ist auch, dass die Sprecherin sagt, dass sie und ihr 20. jähriger Sohn sich teilweise für völlig unterschiedliche Passagen des Manga begeistern, der Sohn für Dr.Hiluck und sie für Dr.Kuehla.
      Auch geht es darum, dass Oda sich, wenn er traurige Szenen zeichnet, in seine Charaktere reinversetzt und versucht das zu fühlen, was sie fühlen, um authentisch zeichnen zu können.
      Und zu Usopp lässt er auch noch etwas fallen, dass er für ihn immer der schwächste bleiben wird, doch eben gerade das macht ihn so stark und menschlich, ein Mensch, unter lauter Übermenschen eben.

      Aus dem zweiten Zitat wird ersichtlich, dass am Ende von One Piece ein Pirat mit einer Augenklappe auftauchen wird.


      Dieser Beitrag wurde bereits 3 mal editiert, zuletzt von Kostja ()

    • Als ich Gregs Übersetzung von dem Interview gesehen habe, war ich echt baff.
      Einige Stellen gehen einem wirklich nahe, besonders der Schluss ist sehr schön.

      Ich finde es toll, dass Oda sich nicht ganz so humoristisch wie sonst zeigt.
      Dass der das überhaupt kann^^
    • Ich kann mich nur anschließen, ein wirklich sehr schönes und emotionlaes Interview. Es ist wirklich interessant, wieviel Emotionen Oda schon allein beim zeichnen seines Mangas einsetzt und diese Emotionen gehen dann auch vom Blatt direkt auf den Leser über.

      Da bin ich aber mal gespannt, was da am Ende für ein Pirat mit Augenklappe auftaucht bzw. wer da womöglich ein Auge verliert (ich werd ein Auge drauf richten^^).
      Masturbating Bums are bad for Business.
    • Ich kann euch allen nur zustimmen. Ein wirklich fantastisches Interview mit viel Emotionen und (wichtig!) auch Selbstzweifeln. Es rückt Oda für mich wieder etwas auf eine Ebene mit "normalen" Menschen zurück, die nicht durchgehend dumme Witze reißen können.

      Das er mit seinen Charakteren mitfühlt hatte er ja bereits mehrmals in den FPS angedeutet, aber hier kommt es erstmals wirklich überzeugend und glaubhaft rüber.

      Auch die Information mit der Augenklappe ist interessant. Ich weiß nicht genau warum, aber ich bin mir fast sicher, dass Shanks dieser Charakter sein wird, da er bereits an seinem Auge verletzt ist. ;(
    • aber eins mal wie kann ein mann sich eich sowas überlegen xDDDDD ein piraten geschichte mit nem typ der ne gum gum kraft hat und so schon hammer oder also für mich gehört oda aufjedenfall zu den ganz großen für mich eh einer der größten aber ich sollte mich mit solchen commis zurück halten dafür hab ich einfach noch nicht genug mangas gelesen um sowas zu behaupten
    • Dasilva schrieb:

      aber eins mal wie kann ein mann sich eich sowas überlegen xDDDDD
      Naja, Oda hatte soweit ich weiß mehrere Inspirationen. Da währe zum beispiel Wiki der Wikinger, womit bei Oda alles anfing, dann mehrere Shonen Mangas wie DB und Co. und umso mehr. Natürlich braucht man immer was eigene Fantasie, aber Oda hatte schon die ein oder andere Stütze die diese hervorbrachte...
    • So hier mal ein weiteres Interview von Oda. Danke an dieser Stelle an Greg für die Übersetzung.

      Greg schrieb:


      ----First of all, would you please tell us what made you decide to become a mangaka?

      That'd have to be the moment I learned there was such a job. When I was in Kindergarten I really liked the work of Fujio Fujiko but when I learned that all they had to do to make a living was draw pictures I was so jealous. At the time that meant exactly the same thing as 'Not working at all'.

      Of course being a mangaka means 'working' is drawing pictures, but what kid thinks drawing a picture means work? 'Working' meant putting on a suit and heading to the office like my dad.

      And so that's why I wanted to be one. Ever since that age I loved drawing and the people around me always said I was good at it so I had confidence in my work.

      -----So how did you actually progress from there?

      I started submitting work from when I was about 15 and actually took home an award when I was 17.

      But it was from that point that things got harder. As far as drawings are concerned, well, I had no problems there but a comic isn't just a bunch of pictures. Writing stories was something that used to be really hard for me. Whenever I showed my head editor rough drafts I would get all kinds of weak points pointed out to me and I couldn't move forward.

      That was the first Wall of the Professional I hit. At the time I thought people who draw great pictures become mangaka, because every mangaka I knew drew pictures really well. So that's about the time I started to seriously think about that thing called a 'story'.

      So from there I continued aiming to be a mangaka and after graduating high school went to a college in Kumamoto but after a year of that I got to thinking, "This really is a waste of time.", so I headed for Tokyo.

      Of course I hated studying but more than just that, heading down that path as a college student gave me this sense of impending doom (laughing) Because all college students do is party right? (laughs)

      ----Was there anyone in college who had the same goal of becoming a mangaka as you? [Good question!]

      Nope, nobody. Actually you know I hid the fact that I drew manga from a lot of friends. I dunno about now but back then writing amateur manga meant being made fun of.

      I did NOT want to be called an otaku so I decided that until I became a professional I'd secretly be a closet mangaka. (laughs) If you turn pro and you make a hit, you're just accepted as that so there's no need to do work in secret. So in that way I think it also kind of gave me this strong feeling like, "I wanna be a pro as soon as possible!"

      So wanting to go to the scene the action I dropped out of college and my editor introduced me to an opening as an assistant.

      ----How was the first time your actually saw a professional at work?

      It was 1994 and I became the assistant of Shinobu Kaitani (Liar Game, Somurie) whose Midoriyama Police Gang was running in JUMP at the time, and the thing that shocked me the most was the beauty of the original print. [I agree, having seen them at JUMP Festa, they're really amazing]

      Since JUMP's pages are made of recycled paper they feel all rough and looks dirty right? But the original molds are remarkably beautiful. 10 times more beautiful than I imagined. I went to a bunch of different works places all around the same time but wherever I went the original prints always blew me away. My own work wasn't even worthy of comparison.

      ----Was there anything else about the professionals' jobs that moved you?

      After Shinobu Kaitani's work finished its run, I went to work for Masaya Tokuhiro (Jungle King Taa-chan, Vampire) and I admired how he was able to chug along through his work exactly as he planned. He is a real professional. I always try to learn that by observing but guess I'm just not that kind of mangaka. (laughs)

      ----What kind of work did you do while under Tokuhiro sensei?

      I drew scenery for Taa-chan and his next piece, Mizu no Tomodachi Kappaman. I was only with him for about a year and a half but he really taught me a great deal of things. How to draw the profile of a character, techiques for expression and so on... After quitting as an assistant we don't exchange much more than New Year's Cards [Japanese equivalent of Christmas cards] but he made a huge contribution to my life.

      ----On the topic of your life as an assistant, many people mention Nobuhiro Watsuki sensei. After you ended your time at Nobuhiro sensei's, did you go right to work for Watsuki sensei (Rurouni Kenshin, Embalming)?

      Yeah pretty much. But I actually wasn't there too long. I think I managed to work full-time every week for only 4 months. After that I wanted to prepare for my own [upcoming] serial work so I worked there every other week.

      ----Would you tell us some special memory you have of working at Watsuki sensei's?

      Yeah, I uh, I was able to make a lot of great connections from Watsuki sensei's place. Dunno if you can call friends like us Manga Buddies or Manga Rivals but that was the place where we all met. It was an fantastic place to be.

      ----For a while there was a time when the most popular JUMP mangaka all came from Watsuki's place.

      From when we were all assistants we all wanted to cultivate ourselves with this kinda of, 'Let's all become serial authors!' attitude, I was so happy when that became a reality.

      ----Of all those you considered rivals, who sticks out the most in your mind?

      That would have to be Hiroyuki Takei (Shaman King). From way back he just has this fantastic [art] sense. He continues to make feel like, "Woah! That's awesome!", even now. He just makes these drawings and compositions with ease that make me go, "There's no way I could possibly draw that." He also kicks ass at mecha. He's an amazing guy, really.

      Part 1 End

      Next part will come on the 17th. He'll talk about Romance Dawn and much more life OP has in it *gasp*
    • Coole Sache, ich kannte das Topic noch gar nicht, bin erst zufällig durch den neuen Post drauf aufmerksam geworden. Wirklich interessant, was Oda gefragt wird und wie ernsthaft er antwortet.

      Mann, ich bin ja auch auf den Augenklappenpirat gespannt. Als ich mir das so überlegt hab mit dem Stereotyp des Piraten, ist mir eingefallen, dass ja bisher noch gar keiner eine Augenklappe hatte. Nur Ruffy, der wollte sich eine verpassen ganz am Anfang ;)

      Sagt mal, wollen wir das nicht mal übersetzen? Für OP Wiki und die Allgemeinheit? (Wenn Greg nichts dagegen hat natürlich). So schwer ist das Englisch nicht, nur lang sind die Texte, deshalb kann man sie ja auf mehrere aufteilen und einige lesen danach nochmal drüber für Formulierungen und Fehler.
      Ein Klavier, ein Klavier!
    • Also das ist an und für sich eine gute Idee. Ich dachte mir auch schon, dass ein so langer englischer Text möglicherweise einige abschrecken würde, habe deswegen beim ersten Interview auch relativ viel zusammengefasst. Eine direkte Übersetzung ist natürlich besser. Also ich würde mich durchaus an einer Übersetzung beteiligen, wenn den Bedarf daran besteht. Wie das beim Wiki ist, weiss ich allerdings leider nicht, also ob es da gebraucht werden könnte. Also vielleicht äußert sich ja im Laufe des Tages ja noch jemand, wie gesagt, ich würde einen Teil übernehmen. ^^
    • Oh, das Interview kenn ich garnicht..wo ist das denn raus? (Am Ende kenn ich's doch und kann's nur nicht zuordnen XD)
      Also im Wiki haben wir ja eh eine kleine Sektion über Interviews mit Oda (okay..bislang sind da nur 2, aber wenn ich mal meinen Arsch hochbekomme und zumindest seine Readers' Notes der "Grand Times" übersetzen würde, dann hätten wir da schon n paar mehr).
      Wenn sich ein paar Leute finden würden, um es zu übersetzen -- wir nehmen's gerne auf : )

      Ich könnte nen Thread für aufmachen und so bestimmt ne kleine Truppe zusammentrommeln *g*
      Wär schon toll!
    • Joa, ich würde wie gesagt auch einen Teil übernehmen.
      Ein neuer Thread wäre vielleicht nicht schlecht. Ich kann nur von mir sprechen, aber ich gucke so oft in "Internationaler Manga" nicht rein. Wenn also noch mehr Leute dazu kommen sollen, müsste man vermutlich entweder unser Vorhaben publik machen oder den Thread an einer sichtbareren Stelle eröffnen.
      Ein Klavier, ein Klavier!
    • Also meiner Meinung nach, sind keinerlei weitere Maßnahmen nötig. Generell hätte ich auch kein Problem das Zeug alleine zu übersetzen und mit dir sind wir ja schon zu zweit. Ein dritter wird sich sicherlich auch noch finden lassen. Und das reicht imo schon vollkommen aus. Wie gesagt, daran habe ich schonmal gedacht, wuisste aber nicht, dass es da zum Beispiel im Wiki eine spezielle Sektion gibt. Schick mir doch einfach mal eine Pm, dann kann man ja schonmal koordinieren, wer was macht. ^^
    • Hier ist Teil 2 von 3.
      Imo schon viel interessanter..
      es wird über Brook und wiedermal die Länge von OP gesprochen, aber lest am besten selbst:
      Dank geht an Greg!

      Greg schrieb:

      Enjoy! I know you will.

      ----Please allow us to talk a bit about up until One Piece debuted in serialization. You might say it's the pilot vearsion, we mean of course Romance Dawn (published in the One Piece fanbook Red and the short works collection WANTED!) how exactly did those particular pieces come to be?

      Oda- Writing a manga with a pirate motif was something I'd wanted to write since I was in middle school. But it wasn't something I just wanted to do as a one-shot. The scale of the project would be small and there wouldn't be any way to do everything I'd want with it. So I made it a point that if I was going to do it, I'd make it serialized. But getting into serialization wasn't something I just couldn't worm into. Before serialization all my bit pieces were just evicerated.... So I was really just hanging by a thread and prepped myself thinking, "If this doesn't work out I'll just have to give it all up.", and that's where Romance Dawn came from. It was like pulling out the family's mint-condition Mickey Mantle rookie card collection at a garage sale just for food money. [Lit. Says it's like taking the treasured family heirloom sword at a last stand]

      So you could say it was written kind of like only the very beginning of this grand story making it very clear that it's meant to be continued. Kind of like me telling everyone, "Look, I really wanna write this story." (laughs)

      And so in the end, it got picked up for serialization and became One Piece.

      ----It would seem that you had already established many of the basic ideas [of One Piece] at the time of Romance Dawn.

      Yeah, Luffy was there, the Gomu Gomu Fruit.... By the way, it was originally just the Gomu Fruit. Then my editor was like, "But isn't there really a Gomu Fruit?" I changed without a second thought but now looking back, that was a nice-freakin'-idea! (laughs)

      ----Yes but, one could say that's because you had the grand scheme in mind from your middle school years.

      No, not really, I didn't really have this big arching plot in mind. Actually, as far as the contents of the story go, I hadn't really thought about anything. I just had in mind the basic establishment and that I wanted it to be a huge story, that's about it.

      ----That was unexpected. As a reader, lately the underlying meaning in the laying out of the Laboon story became quite clear. I thought you had established much of it in minute detail....


      Well now that, consequently, was something I kept under wraps for a looong time. (laughs) Of course, at the time I first drew the Laboon story, I knew there was going to be a 'skeleton musician' appearing, I just didn't have a design for it or know when I was going to unveil it. I really felt like bringing him out sooner but the story just kept getting longer and longer before I knew it and I was finally able to reveal him. That's all.

      I just think of the rough story as these broken up tales [Note: we come to label them arcs] and as far as what order I tell them in or how long on spend on each, well that's just something I go with whatever works best on. Whenever a sketched out idea for the serial get the axe I have to think of another plan so I just kind go, "Oh! I'll just use that gag here!", there are a lot of arcs I'll write like that.

      ----For example?

      Well, like the Fishmen. They were supposed to appear in Chapter 3 but that idea got knocked down. But I just kept that idea in my head and continued it and finally used it for the Arlong arc. That was another idea I intended to use much earlier.

      Anyway, when I start writing things just get stretched out. Readers might think, "He thought about this THAT long ago!?", but at the same time I'm thinking, "I didn't think it would end up THIS long!!" (big laughs)

      So at first I really wanted to bring it to a conclusion much sooner but before I realized it, it's become what it is today. I figured he would gather his crew in about a year and a half, go on great adventure, and wrap up everything in 5 years.

      [Here it comes]

      ----Speaking of which, how much longer do you think it will be until the conclusion?

      That's just too much to think about so that's a question I wish you didn't ask but. Hmmmm, I'd like to think it's gone about half-way. .....Nah, let's just stop thinking about that now.

      btw, Teil 3 kommt an Weihnachten!

      Hier noch ein kleiner Zusatz von dem Jump Festa 2008:

      Greg from AP schrieb:

      Oda again mentioned that yes, the connection to Brook was in his mind 8 years ago. He actually went into more detail in the interview I translated.

      Oda was hesistant to talk about future plans, "Because you guys will get angry at me again.", referencing that famous incident. HOWEVER, he did say everyone there watching (who unlike you guys hasn't read 483) said that while Moria was defeated, we shouldn't forget about another Shichibukai who was on the island and everyone gasped. I'm guessing you guys already know this.

      BUT! At the very end, his last words were, "Within one year I have a massive surprise planned. But I could be wrong (about timing) and might regret it so I won't say anymore."

      Das mit Kuma wissen wir ja bereits.. lol, schon komisch, dass die ganzen Japaner es noch nicht wissen :D

      Bin mal auf die Überraschung gespannt, hoffentlich so eine große wie letztes Jahr mit Garp/Dragon etc.
    • Das Einzige, was meiner Meinung nach solch einen massiven Einfluss auf die Story haben könnte, ist das sogenannte "Ereignis" ("Incident") und seine Folgen. Falls dies wirklich der Fall sein wird, kann es durchaus sein, dass die Story einen "ungeplanten" Weg einschlägt.
      "If you're going to doubt yourself, I'll leave you here... Never doubt yourself. Only let it make you stronger."

      Solid Snake
    • Hmmmm, also was kann das sein!? Das macht mich alles so nervös, allein schon wenn ich sowas lese...Aber er weiß ja nich obs schon 2008 so weit sein wird...aber was kann das sein!!?!?!? Ich will das wissen!!!
      Zu nah an der Wahrheit...zu nah am Leben...zu penetrant um...ignoriert zu werden...
    • Greg from AP schrieb:

      BUT! At the very end, his last words were, "Within one year I have a massive surprise planned. But I could be wrong (about timing) and might regret it so I won't say anymore."

      Es wird also (vermutlich) innerhalb des nächsten Jahres ein Ereignis im One Piece-Manga geben, welches den weiteren Storyverlauf drastisch verändert. Dies sagt jetzt ersteinmal leider nicht allzuviel über das Ereignis selbst aus, doch man kann schoneinmal einige Schlussfolgerungen daraus entwickeln, nehme ich an.

      Zum Beispiel hat Oda gesagt, dass er sich nicht sicher ist, ob er es vom Timing her tatsächlich in das Jahr 2008 einbringen kann, also ist es logisch, dass er bis dato noch etwas anderes abgeschlossen haben muss. Dies wäre naheliegenderweise vermutlich der FMI-Arc, der also vermutlich auch nur ein kürzerer Arc sein wird, möglicherweise sogar kürzer als der TB-Arc. Am Ende diesen Arcs, oder bereits nach diesem Arc wird also vermutlich das Ereignis stattfinden.

      Weiterhin ist es bisher am Ende eines Arcs meist so gewesen, dass uns ein Ausblick auf andere Ereignisse gewährt wird, welche sich mit wichtigen Personen der bisherigen und/oder zukünftigen Storyline zutragen. Sollte der FMI-Arc also tatsächlich bereits vorbei sein, so wird es sich möglicherweise bei dem "massiven Ereignis" auch um eine solche Seitenstory handeln. Nicht zwingend natürlich, aber es wäre durchaus möglich.

      Wäre bis dato alles so, wie ich es bisher verstanden habe, so wird es sich wohl auch um ein wichtiges Ereignis handeln, dass mit einem Charakter zusammenhängt, der in der Storyline möglicherweise nur angeschnitten wurde, oder der bereits schoneinmal in einer solchen Nebenhandlung gezeigt wurde. Die nächstliegenden wären also vermutlich:

      • Whitebeard und/oder Shanks

      • Blackbeard und/oder Ace (die aber wohl eher schon nach dem TB-Arc zu sehen sein werden)

      • Dragon

      • Dadan, soweit dieser Charakter weitreichende Auswirkungen auf die OP-Welt haben kann

      Aber es gibt eine Stelle, die mich noch sehr viel mehr beunruhigt, als das "massive Ereignis":

      Greg from AP schrieb:

      Oda again mentioned that yes, the connection to Brook was in his mind 8 years ago. He actually went into more detail in the interview I translated.

      Es ist natürlich möglich, dass "Connection" jetzt nicht den Kern der Aussage trifft, aber imo klingt es leider sehr ddanach, als würde es eine "Verbindung" zwischen der SHB und Brook geben. Dies könnte natürlich auch etwas anderes als seinen Beitritt meinen - man kann ja noch hoffen -, doch man muss es wohl ersteinmal als Hinweis auf einen Beitritt deuten.
    • @vanylla & Para:
      Ich weiß nicht wo ihr Ereignis herauslest, für mich ist "surprise" immer noch eine Überraschung 8|

      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.
      Ich denke auch mal, dass es sich auf den weiteren Storyverlauf d.h. Whitebeard, Shanks usw. beziehen wird..
      es könnte aber auch sein, dass etwa Jimbei joint (aus welchen Gründen auch immer), denn das wäre ja zum jetzigen Zeitpunkt eine faustdicke Überraschung.
      Denke natürlich, dass dies nicht passieren wird.. aber es wäre halt eine Möglichkeit :P

      Nochmal @ Para:
      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.