لكي تنهي العمل بجلسة واحدة فهذا يتطلب ان يكون الفنان متمكن من حرفته…
هنا نرى ان عمل تايو ماتسوموتو جمع بين ان يكون فنيا
عالي ومسلي وممتع بنفس الوقت…
"First of all, the reader will be fascinated by the cover picture, then he will be drawn to turn the pages, allured by the flowing frame work and absorbed in reading beside himself. Admittedly, I have fallen in love with this manga, but it is my opinion that it is a work produced by a manga artist who is well-versed in the medium and skilled at producing work for a knowledgeable audience. Manga is the “art of frame works.” I am not sure how much care the artist took in calculating the frames for this work, but the result is that the montage of frames fully illustrates the vivacious lives and lifestyles of each character. It is also excellent that this work is taking on the nature of entertainment, one of the essential factors of manga, in such a casual way. It reminds me of FUJISAWA Shuhei’s famous historical novels and it leaves us anticipating the possibility that the artist could adapt those novels to manga."
لكن يعتمد على الكاتب واي جمهور يريد ان يصله…
How manga are drawn, and read
Takano There's something I was going to ask you when we met today. I just can't get into Hikaru no Go or the manga of Naoki Urasawa. How come, when everyone else finds them so interesting? Am I some kind of weirdo?
Otomo No comment (laughs).
Takano My other half loves them so we always have them in he house. And I'm always keen to at least have a peruse.
Otomo I haven't read any manga at all lately. What is it that makes them so hard for you to read?
Takano I think it's the pictures.
Otomo They're both quite good in their own way, surely?
Takano They're well drawn, no doubt about that. But I find them a bit claustrophobic. They don't allow you to look away. It feels like a succession of code puzzles you have to plod through for the story to progress. You can't read them to relax, and the speed at which you read is determined for you.
Otomo Conversely you could say that makes for a superlative sort of work, allowing readers to immerse themselves totally in another world. Which makes for a good manga I guess. I don't know about anyone else, but I don't have much clue because I don't read them either. There's just something about manga technique, you know, getting people to read manga for the technique, that gets up my nose. I don't like it when manga seem well executed, but lack that X factor that makes them memorable. Magazines like Comickers drone on at length about the syntax of manga, but I'm afraid I just think, why bother even looking at that, what a drag. When I was doing Akira, we discussed quantity and quality, but I made up my own sort of manga syntax, really. I leamed to think hard about things like, if I draw this illustration the next frame has to be like this, and the reader's line of sight has to be guided in such and such a way. At the time I seriously considered writing a book on "how to draw manga,'' but soon realized that this was actually my personal way of drawing, and it'd only be bragging about my own technique, so wouldn't be any use as a manga primer. Manga has to be about taking something someone has made, breaking it down and doing it a different way, and the idea of any sort of grammar is absurd ... although truth be told it does exist. But even if one could make people read manga in a particular way, it strikes me that the inherent flexibility of manga lies in another person promptly altering that.
Takano It's that idea of manga just suddenly appearing on the market in guerrilla fashion. What I find fascinating about manga is the way that because it's cheaper than making a film, and requires minimal investment, manga lets even those living out in the sticks suddenly take up pen and paper and think, "Maybe I can do that too!"
Otomo That's very healthy, in my view. It means a constant process of breaking and rebuilding. Difficult though. When you consider that, there isn't really any need for syntax.
Takano But when you're drawing, you gradually start to work it out don't you? Make up your own rules as you go?
Otomo I find I gradually get sick of that (laughs}.
Takano You mean when you've been at it for a long time?
Otomo That's right. Which is why I take my hat off to authors who can keep churning stuff out (laugh).
Takano You'd think they'd get tired of it.
Otomo I guess they're busy, and once you've completed a certain amount you just have to get on with it.
Takano But haven't you also noticed the recent rise in niche works aimed specifically at small readerships?
Otomo How does that apply to you then?
Takano I draw for the majority.
Otomo Really? (laughs)
Takano Though for all that I don't have many readers ... (laughs). I draw for people who would not class themselves as manga fans. I mean, it's not like I'm saying anything especially complex.
Otomo Well yes but...because you work incredibly hard, I think that comes across. Your manga can't be read by ordinary people, people who think manga should be simple, take no effort to understand.
Takano Ah, well that's the way of the world isn't it - it's the readers that just don't get it.
Otomo Surely that's because you demand that they do ( laughs). Aren't you choosing who's going to read your stuff?
Takano But in my view reading something, reading a book requires at least that degree of understanding.
Otomo Someone said to me ages ago that something I'd worked really hard on was a bit hard to understand, but when I draw I envisage a few high school students somewhere who just happen to pick up one of my manga in a spare moment and think wow, this is interesting, never read anything like this before. My ideal would be to have a short story in a bonus edition of some weekly magazine that a boy racer might just happen to spot on waking up at a mate's place after a hard night out and, not knowing my name, see a bizarre manga in there and become hooked (laughs). In that sense my dream is to have not just people who like comics but anyone read my work and find it interesting (laughs). At one stage I was a co-driver for a truckie, and we'd blat along highways through the night and rock up at some drive-in place where everyone would be sitting around eating, worn out from driving. The books in places like that are all titles like Shukan Manga and Manga Goraku. Seeing this it struck me that this was how I should be drawing, for these sorts of books. To me that seemed the healthier option.
Takano Well, I suppose so ...
Otomo You get readers who come to those autograph gatherings, right. Do you think of them as "my readers"?
Takano Yeeesss ...
Otomo Don't you? Sure you must think, who are my readers, where are they and what are they doing? Just as readers wonder what sort of person Fumiko Takano might be, I think we wonder what sort of people our readers are.
Takano That's true. Now, this might sound a bit weird, but reading tor pleasure, whether manga or books - and this will sound odd coming from someone who's made a whole business out of it - don't you think there's something not quite right about the whole concept?
Otomo Meaning reading is not pleasurable?
Takano In a way I think we read books to make ourselves smarter.
Otomo You crack me up (laughs).
Takano Yes it does happen to be fun along the way, but the actual object is to go from dumb to smart. We read novels, or whatever, as how-to guides to becoming wiser and not messing up in life.
Otomo Well, reading a book can be in itself an intellectual quest, a kind of hunger. Reading something a person has written is about finding something in there you want to know. Reading a novel merely to pass the time is actually quite a sophisticated thing to do. So I think your assertion is correct.
Takano You think so? But hang on, when I was drawing The Yellow Book you asked what I was drawing, and I said yes, I am indeed drawing, and when I said my motive for drawing was the theme, you laughed and said, come on Takano, is it about setting the world to rights and all that. show us justice according to Fumiko Takano then (laughs). So I was holed up for three years. determined to show you. Except that when I published the book, it seemed nobody thought that. When I said my motivation for drawing lay in the themes, Shinichi Sugimura also said "Are you a left-winger then?" (laughs) It's not about being left-wing or right-wing; I was able to work hard at it for three years because I had a theme. But those who read something rate it on whether they were surprised by the angle or suchlike. or being enjoyable along the way. Not that there's anything wrong with that of course. But come to think of it, at the time you chuckled, but when I met you a few months later you said it was interesting. I'd like to think you agree with my idea of what constitutes right.
Otomo I'm certainly impressed.
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But what's sad is that... fewer and fewer artists know how to invent their own stories. Everyone just copies some popular game or animation And it's because the editors don't really know much about manga. So they just get newbies to copy some video game or anime they've seen.
هل هناك مشكلة بتقليد عملٍ ما إذا كان ممتع؟
هنا اعتقد ان katsuhiro otomo يقصد ان يكون الفنان صاحب رؤية…
