I had an interview with Yagi-sensei
[Giant Editor: Rin]
Rin: This is invaluable experience~~
Kaku: I'll work hard!
[Bag: Bunmeidou (shop that sells traditional Japanese confectionery)]
When it comes to Yagi sensei...
Terrifying creatures and dark outlook on the world...
No doubt the author himself is also dark and ominously fearful...
Pumpkin Yagi: I appreciate your cooperation today. *bows*
Kaku: EEEHH!? He's so gentle-mannered!
His workplace is also very nice and clean.
Kaku: T-To think those youma and abyssal ones were born from this kind of workplace...
*Please accept my apologies!!*
Yagi: It's fine
(Rin: This is for you.)
(Yagi: Oh, thank you.)
Yagi: I like horror movies, gore films and the likes, but it's not like I give much thought to cruel things in particular.
It just turned out that way, thanks to the influences from the manga I read as a kid... Things like Fist of the North Star and Cobra
[Background: Kenshiro: ATATATATATAA]
Kaku: I-It's that so...
*I was so sure you were a scary person*
Rin: Yagi-sensei is a quiet genius
He has "sense" I say, "sense" ! [T/N: lit. "sense" in Japanese, as in 'good sense for things']
Kaku: Humm... Sense...
*In that case, I've gotta learn from everything he says*
Kaku: First of all, well done on your serialization!
Yagi: In any case, I can have a breather for now.
I feel that I have drawn everything I want to draw.
This is envious but it's not happening to a rookie like me*
Upon doing a long serialization, how far do you think ahead for story settings and the likes?
Yagi: No, the setting wasn't really elaborated
Kaku: Whaa!? (Even though it went on for that long!?)
Yagi: ...Or rather, a more correct way to put it is, I did it in a way such that I wasn't too bounded by the setting.
For Claymore in particular, the "tales of the warriors" are prioritized over the setting or the concept of the world.
Kaku: But... settings concerning various things like the "Org" or the "outter great continent"...
Speaking purely in terms of Claymore
Yagi: In the first place, even if there were a world or stories beyond the principle focus,
I think it is not necessary to end with the main character getting involved in everything.
Yagi: Though the main character is prone to unintentionally resolve everything
The outside world will do whatever it does in the outside world...
Kaku: I-I see...
"Though it is true that when conceptulizing the world or planning the setting, first and foremost you tend to start thinking from their relation to the main character
Naturally, a "world" is too big for an individual to cover it wholly..."
*"Setting unrelated to the main character..."
Perhaps this is the thing that allows the "world" to expand...*
Yagi: Therefore, I try to introduce characters in the storyboard first
And if they moved, then I'll use them as they are or something
It's highly unlikely to give them a personality beforehand.
Kaku: A-And you wrote a spectacular story from that...!?
Yagi: Nah, I was planning to end it with 5 volumes at first.
Kaku: 5 volumes!?
Yagi: That thought was also there for 10 volumes and 15 volumes.
Kaku: *That became 13 years...?*
I understood the meaning of the term after this conversation."
[Editor: Rin] Yagi sensei is a person with "sense," "sense!"
[Yagi sensei, with whom I had an interview...]
[Yagi sensei] I'd first of all draw the character in the storyboard
If they moved then I'd use them
[...really is a person with "sense"]
Kaku: "Move..." Does that kinda mean, without setting the personality of the character in stone, you're improvising your story?
Yagi: Well rather than story it's the draft...
But it feels like the characters will begin to move on their own
Kaku: On... On their own...
Kaku: Leeeet's see, are there moments when characters are born from inspiration due to movies and such?
*It happens to me quite often*
Yagi: Hmm, not in the sense that they are modelled after them.
It's more interesting to see even I can't predict what their dialogues will be in the next panel.
Yagi: Well, there are instances where creating the character's flaws would make them easier to 'move'...
Yagi: Kinda like a 'feint'...
[eg. Angel Densetsu]
His eyes are scary...
But he's actually gentle and caring
Yagi: Like, what would happen if the guy looked scary but is actually gentle
Kaku: I see. Kinda like 'not matching up to expectation.'
Yagi: In any case, it's not interesting if too much has been set in stone
Yagi: Who knows if having them move towards the "goal" would take away their vividness.
Yagi: Eventually even if the character took actions that were different from my expectation, I could say "Aah so this guy really went this way huh?"
Rin & Kaku: *That's "sense" for you...*
Kaku: *And you can't do this if you don't have guts...*
[By "using characters that even the author finds uncertain," this could be the secret to giving the world its depth and breadth]
Kaku: *This is something I should learn from*
sfx: memo memo
Kaku: But in that case, wouldn't you have to have lots of storyboards?
You would have lots of storyboards
Rin: So Yagi-sensei you write the storyboards while continuing to decide on the characters' actions and development. *That's a lot of effort*
Yagi: Well on the other hand, the result is I don't need to hesitate when making choices for the characters I guess.
Yagi: Even so, without writing a single word, I just draw the storyboards
Over and over
[Lazy storyboards with nothing but words]
Kaku: Th-Then it must take you a lot of time...
Yagi: No, for Claymore the storyboard takes 3 to 4 days
Kaku: What!? That method is a lot quicker!!
Yagi: Conversely if you don't finish quickly, you'll become confused
Rin: So, storyboards, lots and quick
*As a result, this reportage manga here also followed those methods and storyboards were made
Kaku: How are these?
Rin: I don't understand it at all.
Yagi: Since I debuted with a gag manga,
I take care in drawing panels that are to be easily understood.
Kaku: I see I see.
Yagi: Even more so than a powerful scene, I prioritise being easy to understand, in a way that you can explain what the scene is about.
That's why for example, I try not to disrupt the positioning of characters in terms of who's standing on the left and who on the right.
Kaku: So about the tone,
what are the conditions Sensei you take into account when deciding how much 'tone' to apply?
Yagi: Hmmmm, this also follows my basis on "being easily understood."
Kaku: I see
Kaku: I have trouble with doing the tones...
It turns out as if there's no end to applying* [the tone]...
*[TN: LIterally "sticking." In manga drawing, some of those 'shades' you see on the page are literally applied by sticking a layer of half tone that is cut out to the shape you want.]
Yagi: Although that's certainly a lot of work...
Yagi: I give serious thought on efficiency and how to allocate work to my assistants.
In fact this is all I think about while working on the outlines.
[By the way, I am told he has more or less 5 regular assistants.]
Yagi: I've learnt important things during my time drawing gag manga, for example...
Yagi: (I'm not talking about jokes and punch lines...)
Yagi: Things like "Close the story properly" and "Add twists."
[TN: 'Punch line' and 'Twist' are both 'ochi' in Japanese so I guess that's what he is clarifying in the previous bubble.]
[It's true I've heard that drawing comic stories can improve your compositional ability.]
Kaku: *This is none other than the Yagi-sensei who puts great care in drawing the stories of his characters...*
Kaku: Rin-san, I shall draw a gag manga next!
Rin: Ain't that fine?
Rin: Don't think it suits you Kaku-kun but
Feel free, feel free
[Rin-san is a very generous person.]
[Kaku: From storyboard-drawing to pen outlining and the likes, what work do you enjoy doing?]
Yagi: They all have theirown kind of enjoyment.
There is a lot of trial and error drawing drafts, so in a sense you don't need to think when you do pen outlining
Yagi: in particular, compared to the time when I first began serialization, my speed in the thinking part of draft-drawing has probably gone up.
There is also me making use of the 'momentum'...
Kaku: I see I see
[Background] Kaku: Wha?
*Kaku: If I up the speed, I might even be able to up the quality of my manucript*
How could you improve the speed in pen-outlining?
On the other hand pen-outlining has probably become more time-consuming.
Kaku: Huh? Is that so!?
Kaku: But isn't it that if you get used to drawing the characters, you'd be able to smoothly...
Yagi: Well~ There is that, but rather than technique, it's perhaps an issue to do with my 'eye.'
Yagi: Things such as being able to see places that are lacking, or the hurdle for yourself has been raised,
Or finding myself not being okay with backgrounds I once drew when I revisit them now...
Rin: My impression is that many artists who do long serialization have their work time gone up.
Kaku: I'm very pumped up when drawing my drafts,
[This looks good!]
Kaku: Pen-outlining and adding finishing touches also go well
[MUST ERASE MUST ERASE MUST ERASE MUST ERASE]
Kaku: But after erasing the pencil marks, my drawing somehow turns out unexpected plain.
Kaku: Sensei, have you experienced it?
[Have you experienced it?] [TN: speaking to the readers]
This happens to everyone doesn't it?
Kaku: I-Is that so...
[I feel a bit relieved]
Yagi: That's why I...
Yagi: ...make a copy of my draft, and then I could compare it to my manuscript when I'm doing pen-outlining.
Rin: OOoh!? / Kaku: Wow!!
Kaku: What a simple yet effective method!!
How come I've never thought about it!!
Yagi: In the past I made a copy by chance, and thought the draft looked better when I compared them.
Yagi: There are more pen-fills to be done while using my drafts as a guide.
Rin: This is also the case with rookies, where their storyboards [TN: i.e. drafts] looks more grand than their actual manuscripts
Although they say it will fix itself when you get used to your pen...
Yagi: It's also common to find pencil-drawings looking more spectacular
*Although it does vary with situation*
※And so, this reportage manga is also drawn following those guidelines.
Kaku: How is it?
Rin: You don't need the grandiosity here.
[To be continued]
*I have also asked a lot of other questions*
[Kaku: What do you do when you're stuck for storyboard ideas?]
I may go for a bath and the problems would seem to become unstuck.
Yagi: I may also even find ideas for dialogues and twists.
Yagi: In a sense, showering is like meditating under a waterfall.
*Kaku & Rin: The bath is awesome*
*Kaku: I can relate...*
[How conscious are you about the things that are popular?]
Yagi: I'm not really conscious about it.
Yagi: Personally I'm not that much of a maniac for my own interest,
so if I just draw something that I think is 'interesting,' I feel it should turn out just fine.
Yagi: And I like horror movies and gore films.
[Kaku: Which manga do you find interesting?]
Yagi: If you read manga, it's probably interesting.
Yagi: In movies it is common to be able to guess what happens next half way through,
but there are surprising manga which challenges the unchallenged
Yagi: In the end, I enjoy it when I see things that have never seen before.
["Things that have never been seen."]
[Introducing characters without setting their personality in stone...
Begin drawing the storyboard without settling on the development...]
[The above might be one way to create the "things that have never been seen," which even he seeks after.]
Yagi: I stay away from common plots or making compromises with the plans when I draw storyboards.
*Kaku: Would it be because the horror films he likes are also full of absurd plots?...*
Kaku: On a final note,
Some words for the rookie manga artists please.
Yagi: Draw something that no-one has drawn before
Yagi: Even for things that are poor, I think it is a invaluable that you are able to bolster that strength that keeps your individuality from conforming to normality.
Rin: Alright, Kaku-kun. Just quickly finish up the drawing okay?
Kaku: Thanks for today.
Things that have never been seen...*
Kaku: Okaaay! I'll also finish up this reportage manga super imaginatively!!
*First up, portraits!!*
[Book title on the left "Character Design Plan - Yagi Sensei"]
[Book title in the middle "Character Design Plan - Yagi Sensei (1)"
Description under the... thing: "Spits fire!"]
[Book title on the right "Character Design Plan - Rin-san"]
_________________ 9 na 10 otaku zaleca oglądanie Gintamy.
Luknąłem sobie kulka stron, postaram się jutro całość, bo do english muszę się skupić.
Miło jest zobaczyć tą kreskę i będzie miło przeczytać po Polsku.
Zwróciłem jednak uwagę na podobieństwo z Claymore, w kontekście Rak vs Clare. Tyle że lekka zamiana ról. Przynajmniej na początku, zobaczy się dalej.
Szacun dla dziadka który twardo stoi z pompką przeciw przeważającym siłom NASA.
_________________ Nie to ładne co ładne, lecz co się komu podoba.