Reply To: Le foto personali di eiichiro oda


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]