Reply To: Le foto personali di eiichiro oda


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, 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.[/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..