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Guardate qua che cosa sono andato a pescare mentre navigavo in rete? Una bella foto di Eiichiro Oda e della moglie, la bella attrice Inaba Chiaki… durante il loro matrimonio:
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alla cerimonia erano presenti alcuni famosi mangaka, come Nobuhiro Watsuki (Rurouni Kenshin, Busou Renkin Masashi Kishimoto (Naruto) e Suzuki Shin’ya (Mr. Fullswing).Qui invece è con la sua famiglia e i doppiatori:
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[/SPOILER]Mentre qui mostra alcune cose di casa sua a dei doppiatori, oltre a mostrare un’illustrazione:
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[/SPOILER]Qui è ritratto mentre colora una delle sue splendide illustrazioni:
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[/SPOILER]Qua fa lo scemo con i doppiatori:
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[/SPOILER]E queste invece sono delle immagini esclusive sull’intervista tra eiichiro Oda e Takehiko Inoue:
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[/SPOILER]Questa è una splendida fanart di oda sul personaggio del manga vagabond del collega Takehiko Inoue:
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[/SPOILER]Questo invece è lo studio di eiichiro oda: vi riporto la lista di strumenti in inglese, perchè ho tratto questa immagine da un sito inglese: fate voi la traduzione con google, oppure sarete comunque più bravi di me a tradurre, perchè io non sono un asso:
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[/SPOILER]Things to notice:
– A line up of One Piece tankoubons directly in eye sight. Several volumes are open and at hand on the left for quick references of characters [eg. Hancock].
– Probably a small pocket translator under the books (the silver fold-up laptop-looking thing). For english words? For naming Sanji’s Diable Jambe? Who knows.
– Opened drink can; probably for those moments of thirst riiight before the deadline 😉
– Assorted erasers, inking tools, pens, etc, scattered all over the desk (what else would we expect?)
– Drawing eraser; the black, squishy, moldable kind
– A tissue SOAKED in ink, probably for cleaning off pen nibs… or maybe for wiping ink off tired hands…
– A long, white eraser tube
– A series of ink pens, various size set
– A draped pair of black headphones; I wonder what kind of music Oda listens to!
– Cordless phone; probably for when his editor needs to contact him~
– Japanese Reference books in the right corner of the table
– Finished inked pages lying in a pile on the right – looking sharp!
– A white sheet in the middle of the table for bleed from the pages Oda’s working on – it’s totally smeared in ink and splatters – and even what looks like some splotches of spilled tea!
And interestingly enough…
– A huuge ashtray with cigarettes smack in the middle. Can anyone confirm if they know Oda’s a smoker? Haha, it kind of adds to his atmosphere and charisma… 😛questi invece sono alcuni name di one piece: si vede che oda ha ritagliato le vignette con i name (schizzi del capitolo che servono all’autore per farsi un’idea e per impostare il capitolo stesso) e poi le ha incollate su un foglio: probabilmente dopo fotocopierà i name per avere dei fogli unici e più comodi:
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[/SPOILER]I LOVE seeing Oda’s names and roughs; it’s so motivational–!… here’s the finished pages of these drafts, as a reminder (Ch.522, Pg.02-03):
One Piece 522 – Read One Piece chapter 522 online.
One Piece 522 – Read One Piece chapter 522 online.Pretty cool, right? It’s so amazing seeing the genious’ workplace; the place at which he creates stories and unravels adventures of unparalleled intricacy. It’s where he works his hardest and dreams the hardest to create a fantastical world for his readers to marvel at. Talk about an inspiration.
allora, che ne pensate?
Ma come sei riuscito a scovare tutte queste foto riguardanti Oda? Comunque devo dire che non è quel che propriamente si può definire un bell’uomo, si vede che si dedica molto al suo lavoro e fa poco moto, ha delle braccine bianche :D, ma l’importante non sono i bicipici ma il tocco.
La foto del matrimoinio è davvero oscena, fossi in loro farei causa al fotografo e al sarto…. :skept:….. ma chi li ha vestiti ?? Il proprietario di un hard discount di abbigliamento o i responsabili della raccola indumenti usati della caritas?
Le altre con i doppiatori e famiglia sono carine, quella con l’altro mangaka vedo ha un intervista allegata, sarei davvero curiosa di sapere che c’è scritto, nessuno ha un amico, parente, conoscente che conosca il giapponese e ci traduca anche sommariamente il contenuto???Nemmeno sapevo che fosse sposato! Non credevo avesse anche una vita sociale visto che passa circa 20 ore al giorno a disegnare :asd: Ed è anche papà? :skept:
Bella la voto con i doppiatori…Nemmeno sapevo che fosse sposato! Non credevo avesse anche una vita sociale visto che passa circa 20 ore al giorno a disegnare :asd: Ed è anche papà? :skept:
Bella la voto con i doppiatori…Se è per questo la moglie è anche apparsa in alcune puntate dell’anime se non sbaglio :asd: Negli special festivi,forse in quello dove per qualche festività dovevano costruire dei carri :sisi:
Bel thread comunque 😉
Se è per questo la moglie è anche apparsa in alcune puntate dell’anime se non sbaglio :asd: Negli special festivi,forse in quello dove per qualche festività dovevano costruire dei carri :sisi:
Bel thread comunque 😉
Sapevo che era una modella fan di One Piece ma non che era sua moglie :laugh: E comunque quegli special non gli ho mai guardati… :icon_redface: Ma è anche papà Oda?
Sapevo che era una modella fan di One Piece ma non che era sua moglie :laugh: E comunque quegli special non gli ho mai guardati… :icon_redface: Ma è anche papà Oda?
Non che io sappia :look:
Sapevo che era una modella fan di One Piece ma non che era sua moglie :laugh: E comunque quegli special non gli ho mai guardati… :icon_redface: Ma è anche papà Oda?
certo che si, di una bella bambina! Ha di recente dichiarato che sua figlia ama molto il celebre anime pretty cure, e lo preferisce di gran lunga al suo manga! Per questo in questi ultimi tempi oda si sforza di disegnare con quello stile per fare dei regali alla figlia e farla contenta…
piuttosto, avete visto, la foto cn i familiari è più vecchia delle altre, e se avete notato, nelle ultime il nostro oda si è fatto un po’ più cicciotto..certo che si, di una bella bambina! Ha di recente dichiarato che sua figlia ama molto il celebre anime pretty cure, e lo preferisce di gran lunga al suo manga! Per questo in questi ultimi tempi oda si sforza di disegnare con quello stile per fare dei regali alla figlia e farla contenta…
piuttosto, avete visto, la foto cn i familiari è più vecchia delle altre, e se avete notato, nelle ultime il nostro oda si è fatto un po’ più cicciotto..Sai anche il nome di questa bambina? Immagino che presto arriverà nel manga un personaggio femminile a lei dedicato :asd:
Ma come sei riuscito a scovare tutte queste foto riguardanti Oda? Comunque devo dire che non è quel che propriamente si può definire un bell’uomo, si vede che si dedica molto al suo lavoro e fa poco moto, ha delle braccine bianche :D, ma l’importante non sono i bicipici ma il tocco.
La foto del matrimoinio è davvero oscena, fossi in loro farei causa al fotografo e al sarto…. :skept:….. ma chi li ha vestiti ?? Il proprietario di un hard discount di abbigliamento o i responsabili della raccola indumenti usati della caritas?
Le altre con i doppiatori e famiglia sono carine, quella con l’altro mangaka vedo ha un intervista allegata, sarei davvero curiosa di sapere che c’è scritto, nessuno ha un amico, parente, conoscente che conosca il giapponese e ci traduca anche sommariamente il contenuto???mia cara marilla, eccoti un regalino, per te ma anche per gli altri utenti: la prima metà dell’intervista in inglese, la seconda metà verrà tradotta successivamente:
[SPOILER]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.*
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 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.[/SPOILER]
il thread continua qui:enjoy::D
[SPOILER]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).
Note: * Purple Kaede is the name of Inoue’s debut comic in Weekly Shonen Jump back in 1988.
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, Im 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.[/SPOILER]
———- Post added at 14:09 ———- Previous post was at 14:04 ———-
Sai anche il nome di questa bambina? Immagino che presto arriverà nel manga un personaggio femminile a lei dedicato :asd:
non lo so..
quella con l’altro mangaka vedo ha un intervista allegata, sarei davvero curiosa di sapere che c’è scritto.
Inoue non è ”l’altro mangaka”. :icon_redface:
Oda gli chiede l’autografo >.>mia cara marilla, eccoti un regalino, per te ma anche per gli altri utenti: la prima metà dell’intervista in inglese, la seconda metà verrà tradotta successivamente:
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Thanks.
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