Zero_IYAD
True Gamer
أهلا بك معنا على السفينة عيسى-كن
أعتقد لأ , سوى العاشر يلي الكل منتظر اصداره قريبا جدا
نقاش أنمي One Piece
- بادئ الموضوع Nintendude
- تاريخ البدء
أعتقد لأ , سوى العاشر يلي الكل منتظر اصداره قريبا جدا
hussien-11
Senior Content Specialist
يؤسفني دائما أن أقرأ هذا الكلام .. ترو جيمنج لازم يكون ساحة حرة لتقبل أي وجهة نظر مهما كانت
اكتب الي بدك اياه ما دام انك تشوف كلامك منطقي و ما عليك من حد
: ، بالعكس لو ما بتكتبوا وجهات نظركم من نقد و غيره ايش قيمة الموضوع هذا ؟ بس علشان نمدح المسلسل ؟ بانتظارك
:و ولكم معنا ! شي ممتاز انك شفت ون بيس .. مسلسل must لأي أنمي فان ، و مدرسة خالدة في عالم شونن .
hussien-11
Senior Content Specialist
طيب بس لا تسحب علينا .. P: ، انت من الناس الي بهتم أعرف وجهة نظرهم ، لأنه عندك "تفكير" خاص فيك بحب أطلع عليه
الشعار رهيب على فكرة :razz::
الشعار رهيب على فكرة :razz::
GreeN StorM
Hardcore Gamer
لحية حسب منطق أودا !
Dark soul
Hardcore Gamer
في بداية الانيمي كانو يسوونها ( مغامرة باقي , الاحداث الي صارت لكوبي بعد ما انظم للمارين .. و الظاهر في كم وحدة زيادة )
Sky Walker
True Gamer
مقتبس من الحقيقة :smug:
Torpedo
Contributing Staff
..
Mario2
True Gamer
417 حلقه ممتازه اخرى تنضاف للقائمه , بالنسبه للالحان تراهم كلها الحان ماخوذين من اوست افلام ون بيس السابقه واغلبهم سامعنهم قبل حتى في نفس الانمي وفيه منهم مره وحده ينعرضون فمشان هيك الواحد ما يتذكرهم مثل الالحان اللي تنحط دايما بالانمي , الاخراج في هذي الحلقه عجبني
, الانمي الشي الوحيد اللي يملي فراغ بريكات المانجا :inlove:.
وكمية الكوميديا ما حصلتش خصوصا لما لوفي شد على هانكوك هههههههههههههههههههههههه
Mista Koo
Creative Director
417
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هنا بأحط رأيي عن ون بيس وأهم مميزاته وعيوبه بعد مشاهدته إلى آخر حلقة.. طبعا هذا رأيي الشخصي ووارد جدا (أو أكيد) إنك تختلف معاه ولكن اختلاف الرأي لا يفسد للود قضية :tongue:
وآسف حسين عالتأخير.. الساعة 12 عدت وأنا أكتب الرد وخلتني أخلف وعدي :sadwalk::
(الرد خالي من السبويلرز ولكن لعدم تشويه الصفحة بطول الرد)
(لاحظوا العربي العامفصيحي >.>)
الصراحة مو متذكر إذا كان في شي زيادة أبي أقوله ولا لأ.. ولكن إذا تذكرت شيء إن شا الله رح أقوله
أعيد وأكرر هذي وجهة نظري اللي ممكن تتفق معاها وممكن تختلف معاها.. لذا ما في داعي للهجوم
====================
بالمناسبة قريت الموضوع من أول صفحة لآخر صفحة << الفضاوة :laugh::
وأعتقد لو إني شايف الأنمي من أول كان أعجبني أكثر بسبب: 1- معرفتي بأعضاء الستروهاتس جميعهم وبعض أحداث القصة 2- أسلوب فانبويز ون بيس في مدح الأنمي اللي خلاني أشوف الأنمي وأنا أدعي إنه ما يعجبني عشان أجي وأسبه :annoyed: (الحين الوقت المناسب للهروب!)
حلقة مو بس تحمسك لأحداث الآرك الجاي.. بس للأسف اللقطة الأخيرة فقدت طعمها بعد الأوبننق!
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هنا بأحط رأيي عن ون بيس وأهم مميزاته وعيوبه بعد مشاهدته إلى آخر حلقة.. طبعا هذا رأيي الشخصي ووارد جدا (أو أكيد) إنك تختلف معاه ولكن اختلاف الرأي لا يفسد للود قضية :tongue:
وآسف حسين عالتأخير.. الساعة 12 عدت وأنا أكتب الرد وخلتني أخلف وعدي :sadwalk::
(الرد خالي من السبويلرز ولكن لعدم تشويه الصفحة بطول الرد)
(لاحظوا العربي العامفصيحي >.>)
الصراحة مو متذكر إذا كان في شي زيادة أبي أقوله ولا لأ.. ولكن إذا تذكرت شيء إن شا الله رح أقوله
أعيد وأكرر هذي وجهة نظري اللي ممكن تتفق معاها وممكن تختلف معاها.. لذا ما في داعي للهجوم
====================
بالمناسبة قريت الموضوع من أول صفحة لآخر صفحة << الفضاوة :laugh::
وأعتقد لو إني شايف الأنمي من أول كان أعجبني أكثر بسبب: 1- معرفتي بأعضاء الستروهاتس جميعهم وبعض أحداث القصة 2- أسلوب فانبويز ون بيس في مدح الأنمي اللي خلاني أشوف الأنمي وأنا أدعي إنه ما يعجبني عشان أجي وأسبه :annoyed: (الحين الوقت المناسب للهروب!)
Lunar Poet
True Gamer
417
حلقة رهيبة و تحممممس للجاي! الأحداث الجاية شكلها بتكون ىربةشثقطكخهرىىعةضطضثلنميسهتاريّة :wow:!! الله يصبرنا :wow:
على فكرة، موريا للحين قادر على إنه "يتابع دوره في المسلسل"؟! شكله بيرجع في هالآرك!
و يوم تكلّموا عن الشيتشيبوكاي اللي في السجن توقّعت إن المقصود هو كروكودايل، بس الظاهر إنه خلاص ما بيرجع، إلا لو لوفي قابله في السجن!
على فكرة، موريا للحين قادر على إنه "يتابع دوره في المسلسل"؟! شكله بيرجع في هالآرك!
و يوم تكلّموا عن الشيتشيبوكاي اللي في السجن توقّعت إن المقصود هو كروكودايل، بس الظاهر إنه خلاص ما بيرجع، إلا لو لوفي قابله في السجن!
التعديل الأخير:
Majeed
Warrior of Liberation
عيسى بالنسبة لسالفة القصة:
نسيت القرن الغائب من التاريخ ؟؟ وعزيمة الـD ؟؟ وجيش الثوار ؟؟ وفيجابانك وسوالفه ؟؟ والديفل فروت وأصله ؟؟ كيف تفكر باحتمالية أن القصة سطحية ؟؟
على فكرة أودا كان ناوي يخلص المانجا خلال خمس سنوات .. فكثير من الأشياء والعناصر الحالية -الهاكي مثلاً- توه يبتكرها ويفكر فيها .. فلا تلومه لو ماشفتها مبكر في القصة ..
على فكرة أودا كان ناوي يخلص المانجا خلال خمس سنوات .. فكثير من الأشياء والعناصر الحالية -الهاكي مثلاً- توه يبتكرها ويفكر فيها .. فلا تلومه لو ماشفتها مبكر في القصة ..
Sky Walker
True Gamer
417
حلقة ممتازة من كل النواحي .. بس طالعة كوميدية بشكل XD
حلقة ممتازة من كل النواحي .. بس طالعة كوميدية بشكل XD
Bakloyd
True Gamer
من جد والله, انك تقول قصه بهذا التشعب والعمق والطول والتفاصيل احتمال انها تطلع سطحيه,شي جداً غير منطقي
خليني اعلق على سالفة القتال في السلسله
هنا هي ثاني اكبر نقطه اخالفك فيها..في حياتي ما اتحمست اكثر من ما اتحمست مع تصرفات لوفي وقتاله وكيف راح يفوز وووو الخ
اذا جيت تتكلم في كمية التوع في قتالات ون بيس ماراح توقف ,تنوع من طريقة فوز ,من اسلحه, من ماهية الفائز,من مفاجئات, من تضحيات.
صراحه معليش لكن ابداً ماتقتدر تعطي مبررات لإنتقاداتك..اللا انك تكون قاعد تتفرجه وانت حاقد عليه , زي ماقلت حضرتك
:
Mista Koo
Creative Director
ما ينفع لي لأني انتقدته :w00t:؟ والشونن مو حجة عشان ما تحط قصة (ما قلت لك أبي رواية ولا قصة معقدة)
أوكي الصراحة كنت ناسي معظم هالأشياء (إذا بيكون في تركيز عليها لاحقا).. ونعذره عن القصة بحكم إن الأنمي تمدد 15 سنة زيادة :laugh::
يظل هذا رأيي.. وما يحتاج أبرر انتقاداتي لأني مقتنع فيها وما يحتاج اقنع غيري فيهاخليني اعلق على سالفة القتال في السلسله
هنا هي ثاني اكبر نقطه اخالفك فيها..في حياتي ما اتحمست اكثر من ما اتحمست مع تصرفات لوفي وقتاله وكيف راح يفوز وووو الخ
اذا جيت تتكلم في كمية التوع في قتالات ون بيس ماراح توقف ,تنوع من طريقة فوز ,من اسلحه, من ماهية الفائز,من مفاجئات, من تضحيات.
صراحه معليش لكن ابداً ماتقتدر تعطي مبررات لإنتقاداتك..اللا انك تكون قاعد تتفرجه وانت حاقد عليه , زي ماقلت حضرتك
:ون بيس ما فيه عيوب بالنسبة لك؟ أحسن لك.. يا ريت أقدر أطالعه بنفس نظرتك!
Bakloyd
True Gamer
مين قاللك انو مافيه عيوب
بالنسبه ليه عيوبه فيه تمطيط شويه وتصاميم بعض الشخصيات فقققققط:sadwalk:
لول ما تحط قصه مره وحده:laugh:: الان ون بيس صار مافيه قصه.. من جد عالم كبير وغريب
ابغى اعرف الناس ليه تحب الشي المكرر بس:sadwalk:
تعديل: اعطيني امثله بأنيمهات قصصها كويسه بالنسبه لك
بالنسبه ليه عيوبه فيه تمطيط شويه وتصاميم بعض الشخصيات فقققققط:sadwalk:
لول ما تحط قصه مره وحده:laugh:: الان ون بيس صار مافيه قصه.. من جد عالم كبير وغريب
بالله لاتقارنلي الروايات اللي اغلبها تدور حول نفس المحور بقصة ون بيس اللي مافي زيها في التاريخ
ابغى اعرف الناس ليه تحب الشي المكرر بس:sadwalk:
تعديل: اعطيني امثله بأنيمهات قصصها كويسه بالنسبه لك
التعديل الأخير:
hussien-11
Senior Content Specialist
بخصوص الميزات كلنا نتفق فيها طبعا
بخصوص العيوب .. امممممم
بالعكس ون بيس فيه قصة عميقة و مترابطة بشكل مذهل .. فيه أشياء طلعت بأول حلقات و ربطها أودا بالحلقات الحالية بكل براعة: ، غير انه فيه عناصر كثيرة بتضيف عمق كبير للقصة مثل قصة القرن المفقود و قصو الثوريين الي قاعدين ياخذوا الجزر من حكومة العالم و قصة الأسلحة المدمرة و غيرها كثير .. بس مثل ما انت قلت الـPace فعلا بطيء ، لكن مع ذلك .. الكوميديا + روح الأدفنتشر في المسلسل يعوضوا هالشي ، و عموما الان احنا في النصف الثاني من المسلسل ( بداية النهاية ) و الـPace راح يصير أسرع بلا شك للأحداث المهمة : ، و لقاء رايلي الأسطوري لوحده يعطيك فكرة عن هالشي
بخصوص الأكشن .. هو صحيح مو بمستوى كثير من أعمال شونن الأخرى لكنه يبقى مرضي و ما يوصل لدرجة اني أعتبره "شي سلبي" ، و ملاحظ انه الأكشن في المسلسل يتحسن ارك عن ارك ، بس الأكشن في ون بيس فيه نقطة ذهبية يتفوق فيها على الجميع .. و هي التوازن أو البالانس المضبوط دائما .. عمرك ما بتحس انه ملك القراصنة واحد أهبل مثل ما بحس انو تسونادي مثلا لا تستحق لقب "هوكاجي" ( كمثال فقط ) ، و ما بتشوف شخصيات هبلة تهزم شخصيات أقوى منها ، البالانس دائما شبه بيرفكت في المسلسل إلا في حالات نادرة ، و كل شخصية تحس انها تستحق مكانها تماما
أنا معاك تماما بخصوص تصميم موريا العبيط .. ما عنده هيبة شيشيبوكاي .. وهو أكثر تصميم انتقدته في المسلسل للأسف
و طبعا يظل ون بيس يمتلك أفضل شخصيات رئيسية + أفضل قصص فلاش باك على مستوى أي أنمي .. كلها أوريجينال ، و الأحلى بالمسلسل الحفاظ على الطابع و النكهة الأصيلة بالأدفنتشر و ما بتشوف أبدا الكاتب يغر من أسس المسلسل و يتراجع مستواه مثل ما صار مع أنميات كثيرة .. ون بيس هو الوحيد الي محافظ على مستواه و يتحسن من ارك إلى آخر ، غير الاقتباسات و التلميحات التاريخية الكثيرة في المسلسل ( تحس أودا ناوي يجمع كل الأساطير القديمة و الحديثة في عالم و قصة واحدة ) ، هذي الأشياء تجتمع و تجعل من ون بيس الأنمي المفضل لنا P:
بخصوص العيوب .. امممممم
بالعكس ون بيس فيه قصة عميقة و مترابطة بشكل مذهل .. فيه أشياء طلعت بأول حلقات و ربطها أودا بالحلقات الحالية بكل براعة
: ، غير انه فيه عناصر كثيرة بتضيف عمق كبير للقصة مثل قصة القرن المفقود و قصو الثوريين الي قاعدين ياخذوا الجزر من حكومة العالم و قصة الأسلحة المدمرة و غيرها كثير .. بس مثل ما انت قلت الـPace فعلا بطيء ، لكن مع ذلك .. الكوميديا + روح الأدفنتشر في المسلسل يعوضوا هالشي ، و عموما الان احنا في النصف الثاني من المسلسل ( بداية النهاية ) و الـPace راح يصير أسرع بلا شك للأحداث المهمة : ، و لقاء رايلي الأسطوري لوحده يعطيك فكرة عن هالشي بخصوص الأكشن .. هو صحيح مو بمستوى كثير من أعمال شونن الأخرى لكنه يبقى مرضي و ما يوصل لدرجة اني أعتبره "شي سلبي" ، و ملاحظ انه الأكشن في المسلسل يتحسن ارك عن ارك ، بس الأكشن في ون بيس فيه نقطة ذهبية يتفوق فيها على الجميع .. و هي التوازن أو البالانس المضبوط دائما .. عمرك ما بتحس انه ملك القراصنة واحد أهبل مثل ما بحس انو تسونادي مثلا لا تستحق لقب "هوكاجي" ( كمثال فقط ) ، و ما بتشوف شخصيات هبلة تهزم شخصيات أقوى منها ، البالانس دائما شبه بيرفكت في المسلسل إلا في حالات نادرة ، و كل شخصية تحس انها تستحق مكانها تماما
أنا معاك تماما بخصوص تصميم موريا العبيط .. ما عنده هيبة شيشيبوكاي .. وهو أكثر تصميم انتقدته في المسلسل للأسف
و طبعا يظل ون بيس يمتلك أفضل شخصيات رئيسية + أفضل قصص فلاش باك على مستوى أي أنمي .. كلها أوريجينال ، و الأحلى بالمسلسل الحفاظ على الطابع و النكهة الأصيلة بالأدفنتشر و ما بتشوف أبدا الكاتب يغر من أسس المسلسل و يتراجع مستواه مثل ما صار مع أنميات كثيرة .. ون بيس هو الوحيد الي محافظ على مستواه و يتحسن من ارك إلى آخر ، غير الاقتباسات و التلميحات التاريخية الكثيرة في المسلسل ( تحس أودا ناوي يجمع كل الأساطير القديمة و الحديثة في عالم و قصة واحدة ) ، هذي الأشياء تجتمع و تجعل من ون بيس الأنمي المفضل لنا P:
Mario2
True Gamer
هذي مقابلة اودا الاخيره وكانت مع مجلة جمب نفسها ( احلى شي انه العدد نفسه اللي فيه المقابله معاي 3> ), طبعا حطيتهم بموضوع المانجا والانمي , استمتعوا .
Interview with Odacchi
ranslation of the interview:
Oda-sensei's workplace is an entire home. After entering, you'll find the assistant's room to the right, and Oda-sensei's room to the left. Right behind his desk are boxes of research material closing in on it, and the entire room is filled to the brim with materials and tools!
"Basically, no one but me ever comes into this room. I'd be lost if anyone tried to clean it. It might look like I'm just throwing things around me, but to me, this is an orderly state. (laugh)"
The theme for this interview is "Color Illustrations". You're not just making the covers for the comic volumes, but also drawing lots of covers for the magazine and also color covers for serialized chapters. Do you think drawing all these illustrations while also making serialized chapters is tiring?
"I think it's fun. I became a manga artist in the first place because I like drawing pictures, so I enjoy making illustrations."
How much time do you use for it?
"Usually I'll make an illustration in two days out of a week. I always make the backdrops of the illustrations myself, too. That's because I don't like coloring things that someone else has drawn. (laugh)"
I've got the feeling you have a high degree of freedom in choosing the topics for the illustrations.
"That's true. I draw a lot of things that doesn't have anything to do with the actual story. But deciding what to draw is still the part that takes up the most time. It takes almost a full day. I'll ask people for ideas, think about the season, and make lots of sketches on paper before I can decide what to draw - if I can't think up anything I like, I can't make myself draw it. And I don't want to draw something that I've already drawn. That's boring. I only want to draw things that I want to draw!"
It certainly comes through that you're considering your illustrations thoroughly. There's an entire story even in a single image, isn't there?
"Yes, I tend to think things like "what would these people do if they were thrown into this situation?", like a story. For example, if I were doing an image of a card game, I would think about who was winning and who was losing and what cards they were holding. If this guy is winning, then he'd have this many cards on hand, etc. I like giving each character their own situation. I can't draw someone if I don't know what they're doing. Like someone just standing in a pose. I wonder why they're posing like that. (laugh) And if I don't know what they're thinking, I can't draw their facial expression either."
Your compositions are also unique. In particular, the layouts that pulls you up very close to the characters have a great impact! Earlier, Amano Yoshitaka-sensei* praised you with saying that it feels like the viewer is getting pulled into the image (see "Manga-talent TECHNIC" 02).
*Involved in designing visuals and characters in lots of anime series and games, for example "Science Ninja Squad Gacchaman", the "Timeship" series, the "Final Fantasy" series, etc. Also active as a painter and a book illustrator.
"That's all about where you put the camera. Even if you draw the same thing, the picture will become completely different depending on the camera position. It seems I often put the camera very close. It's not like I draw thinking that I'll put it as close as possible, but it seems to have become a habit, and it feels better if I do. If I pull the camera back, people close to the camera and far from the camera will be about the same size. I want to draw those who are close extremely big, and those who are far very small. Then there'll be a sense of depth, too."
So, for those who feel that their pictures always come out too flat, that might change if you consciously try to put the camera very close to the subject!
I also want to ask about how you use colors. What artist material do you use?
"Mostly Copic. Recently, I've also introduced some colored pencils from a German producer called "Holbein". There are 150 colors, but I've hardly used them yet. (laugh)"
Do you decide immediately on what kind of colors you want to use?
"No, I worry about it a lot. So I make small copies of the illustrations after the inking stage, and try coloring in different ways. That's when I usually decide which color scheme I'm going with. The actual work of drawing and coloring goes pretty quickly. But you can't work while you're hesitating. That's why I think it's much more efficient to try out various color schemes - even though it's a bother - rather than stop and think about it all the time while coloring the actual thing!"
Your illustrations use a lot of colors, making stand out vividly, but at the same time every picture have a very coherent look that many people would like to imitate. Do you have some kind of secret?
"Be creative with the shadow colors. If you use the opposing colors, red for shadow on the green parts, and green for shadow on the red parts, all shadows will look grayish, and the image will look coherent. I learned this from someone who graduated from an art school, though. (laugh)"
You mean that even if you use a single gray color for the shadows, it won't look like the same color in the end?
"No, it won't look like the same color. The coherent look comes from merging the colors with their opposites. If you do that, you can use any colors you like on the non-shadowed parts, and the picture still won't seem disjointed. As for the shadows on white parts (white doesn't have an opposite color), I recommend deciding on a single color, like purple, and color very lightly."
In the world of manga all sorts of genres appear, and there are very many adult readers. But you've always said that you'll keep focused on "boys", writing the "royal road" of Shounen Manga.
"I still believe that. The one thing I think about the most when it comes to doing this for a long time is that the readers gradually grow up. But it's important for the writer not to get caught up in that. If you try to adapt to the readership, the manga will also gradually become adult. And if that happens, the next boys - the new readers - won't be able to get in! It turns into a manga that only hard-core fans can appreciate! It's okay if the readership changes. I think that the readers of Shounen Manga grow up and leave, and that's why I'm always thinking of how I can make the boys who start reading now happy. I think that as long as Shounen Manga doesn't lose that focus, we'll be alright. It's the answer I've arrived to after doing this for a long time, experiencing different periods, punching the walls, and reflecting on it."
Have you yourself ever had a period where you thought that new readers wouldn't be able to get in?
"I have. And then I think "This won't do" and go back to consciously remembering that I write this for the boys. I have a feeling that the readership has a turn-over of about five years. That means One Piece is probably facing its third period right about now. (laugh)"
How do you think manga will change in the future?
"If it's okay to stick to Shounen Manga - I don't think it'll change at all. Boys like excitement, and that hasn't changed since ancient times. As long as I present things that I think I would have been happy to read when I was a child, the present children are bound to find it interesting. I do have a feeling that the trends in the manga world is changing, but... Yeah, I definitely think that it'd be bad to change. When I talk about not changing, it might sound like I'm saying that we should keep writing old stuff, but that's not it at all. On the contrary, I think freshness is necessary.
To put it more concretely: I want to stay at that moment when I'm writing a pirate manga with fresh things that have never existed before, and sending it into the world where the readers eat it up - the moment when I'm working like mad to send One Piece into the world. That moment has to go on unchanging.
Boys will always stay with the one who keeps creating fresh new things, that is timeless. That's why the creators have to maintain the state where we keep making original and interesting things - you could say that we have to "preserve" it.
In order to preserve this, we have to keep moving forward, even though there might be some who have the delusion that once you've reached popularity, you can just stop at that point and work on routine. But if you do that, you're no longer "preserving" - you're "regressing". To release repetitions is the same as releasing old stuff."
Even entering your eleventh year of serialization, you're still burning with enthusiasm for manga.
"I always want to keep creating something that's better than what I've ever done before. Of course, if you want more people to read your creation, you need to have that feeling."
---
Boxes to the side:
Page 2:
Oda-sensei's workflow for a week:
Monday - Comic creation
Tuesday - Comic creation -> Finishing manuscript!
Wednesday - Staff meeting (usually by phone), Color illustrations, Anime related things, etc.
Thursday - Color illustrations, Anime related things, etc.
Friday - Sketches, Arrival of assistants ("I make them come early so that I get into a situation where I can't escape. (laugh)" --Oda-sensei)
Saturday - Sketches
Sunday - Comic creation
--
Manga-talent TECHNIC 01: Draw the picture you want to draw!
"There's always some particular picture I absolutely want to draw in every arc, so I work the story to arrive at that picture. For example, in the "Sky Island Arc", I wanted to draw the Camp Fire picture." (JC volume 32) The little "playing" going on in the corners of some pictures is also fun. "People notice even the little things that I think no one will see, and that makes me happy! It makes me want to do it again!"
--
Manga-talent SHOT 01: A secret of how the story is put together
Sometimes the sketches go past the allowed number of pages, because I prioritize the pictures I want to draw. When that happens, I cut out out the frames and put them back together like a puzzle. By the way, the picture I wanted to draw in chapter 522 was Luffy's face like this (from WJ #51).
--
Page 3:
Manga-talent SHOT 02: The masterpiece is born here
Oda-sensei's desk. There's research material piled up on both sides of the large, rectangular desk. The paper spread on the desk bears traces of many scribbles. Even when Oda-sensei isn't sitting here, it's a strange space, with a whirling, hot atmosphere!
The assistants' room. There are lots of DVDs on the decorative shelf to the left. "It's mostly Westerns, historical movies, and old black-and-white Kurosawa Akira-films." At the back end of the room, there's a cozy space for staff meetings.
--
Page 4:
Manga-talent TECHNIC 02: A verrry close viewpoint
A powerful illustration that surprised Amano Yoshitaka-sensei ("The characters are bursting out from the picture!") in an interview recorded in the illustration collection "Color Walk 3" (from a poster included in WJ 4-5 1999). Luffy's and Sanji's feet are drawn very big, and we can see that Oda-sensei's viewpoint is almost moving in under them.
--
Manga-talent SHOT 03: A mix of common and original tools
A mechanical pencil has been customized by cutting it shorter (topmost in the picture). Oda-sensei has started using three G-pens at the same time, so that when all three of them break down, he can change them together. It saves time.
--
Manga-talent SHOT 04: The source of the colors are Copic and colored pencils
Oda-sensei uses mostly Copic (the above picture). The Holbein colored pencils were introduced because he wanted to draw an "Edo picture". You can see the Edo picture drawn by these pens on the cover foldout in JC volume 52!
--
Manga-talent SHOT 05: A treasure found - a big notebook
For every arc, Oda-sensei always creates notebooks - at a pace of one every three weeks - with detailed information on the settings and characters. The picture shows those created for the "Island of Women arc".
سكانز 1
سكانز 2
سكانز 3
سكانز 4
ranslation of the interview:
Oda-sensei's workplace is an entire home. After entering, you'll find the assistant's room to the right, and Oda-sensei's room to the left. Right behind his desk are boxes of research material closing in on it, and the entire room is filled to the brim with materials and tools!
"Basically, no one but me ever comes into this room. I'd be lost if anyone tried to clean it. It might look like I'm just throwing things around me, but to me, this is an orderly state. (laugh)"
The theme for this interview is "Color Illustrations". You're not just making the covers for the comic volumes, but also drawing lots of covers for the magazine and also color covers for serialized chapters. Do you think drawing all these illustrations while also making serialized chapters is tiring?
"I think it's fun. I became a manga artist in the first place because I like drawing pictures, so I enjoy making illustrations."
How much time do you use for it?
"Usually I'll make an illustration in two days out of a week. I always make the backdrops of the illustrations myself, too. That's because I don't like coloring things that someone else has drawn. (laugh)"
I've got the feeling you have a high degree of freedom in choosing the topics for the illustrations.
"That's true. I draw a lot of things that doesn't have anything to do with the actual story. But deciding what to draw is still the part that takes up the most time. It takes almost a full day. I'll ask people for ideas, think about the season, and make lots of sketches on paper before I can decide what to draw - if I can't think up anything I like, I can't make myself draw it. And I don't want to draw something that I've already drawn. That's boring. I only want to draw things that I want to draw!"
It certainly comes through that you're considering your illustrations thoroughly. There's an entire story even in a single image, isn't there?
"Yes, I tend to think things like "what would these people do if they were thrown into this situation?", like a story. For example, if I were doing an image of a card game, I would think about who was winning and who was losing and what cards they were holding. If this guy is winning, then he'd have this many cards on hand, etc. I like giving each character their own situation. I can't draw someone if I don't know what they're doing. Like someone just standing in a pose. I wonder why they're posing like that. (laugh) And if I don't know what they're thinking, I can't draw their facial expression either."
Your compositions are also unique. In particular, the layouts that pulls you up very close to the characters have a great impact! Earlier, Amano Yoshitaka-sensei* praised you with saying that it feels like the viewer is getting pulled into the image (see "Manga-talent TECHNIC" 02).
*Involved in designing visuals and characters in lots of anime series and games, for example "Science Ninja Squad Gacchaman", the "Timeship" series, the "Final Fantasy" series, etc. Also active as a painter and a book illustrator.
"That's all about where you put the camera. Even if you draw the same thing, the picture will become completely different depending on the camera position. It seems I often put the camera very close. It's not like I draw thinking that I'll put it as close as possible, but it seems to have become a habit, and it feels better if I do. If I pull the camera back, people close to the camera and far from the camera will be about the same size. I want to draw those who are close extremely big, and those who are far very small. Then there'll be a sense of depth, too."
So, for those who feel that their pictures always come out too flat, that might change if you consciously try to put the camera very close to the subject!
I also want to ask about how you use colors. What artist material do you use?
"Mostly Copic. Recently, I've also introduced some colored pencils from a German producer called "Holbein". There are 150 colors, but I've hardly used them yet. (laugh)"
Do you decide immediately on what kind of colors you want to use?
"No, I worry about it a lot. So I make small copies of the illustrations after the inking stage, and try coloring in different ways. That's when I usually decide which color scheme I'm going with. The actual work of drawing and coloring goes pretty quickly. But you can't work while you're hesitating. That's why I think it's much more efficient to try out various color schemes - even though it's a bother - rather than stop and think about it all the time while coloring the actual thing!"
Your illustrations use a lot of colors, making stand out vividly, but at the same time every picture have a very coherent look that many people would like to imitate. Do you have some kind of secret?
"Be creative with the shadow colors. If you use the opposing colors, red for shadow on the green parts, and green for shadow on the red parts, all shadows will look grayish, and the image will look coherent. I learned this from someone who graduated from an art school, though. (laugh)"
You mean that even if you use a single gray color for the shadows, it won't look like the same color in the end?
"No, it won't look like the same color. The coherent look comes from merging the colors with their opposites. If you do that, you can use any colors you like on the non-shadowed parts, and the picture still won't seem disjointed. As for the shadows on white parts (white doesn't have an opposite color), I recommend deciding on a single color, like purple, and color very lightly."
In the world of manga all sorts of genres appear, and there are very many adult readers. But you've always said that you'll keep focused on "boys", writing the "royal road" of Shounen Manga.
"I still believe that. The one thing I think about the most when it comes to doing this for a long time is that the readers gradually grow up. But it's important for the writer not to get caught up in that. If you try to adapt to the readership, the manga will also gradually become adult. And if that happens, the next boys - the new readers - won't be able to get in! It turns into a manga that only hard-core fans can appreciate! It's okay if the readership changes. I think that the readers of Shounen Manga grow up and leave, and that's why I'm always thinking of how I can make the boys who start reading now happy. I think that as long as Shounen Manga doesn't lose that focus, we'll be alright. It's the answer I've arrived to after doing this for a long time, experiencing different periods, punching the walls, and reflecting on it."
Have you yourself ever had a period where you thought that new readers wouldn't be able to get in?
"I have. And then I think "This won't do" and go back to consciously remembering that I write this for the boys. I have a feeling that the readership has a turn-over of about five years. That means One Piece is probably facing its third period right about now. (laugh)"
How do you think manga will change in the future?
"If it's okay to stick to Shounen Manga - I don't think it'll change at all. Boys like excitement, and that hasn't changed since ancient times. As long as I present things that I think I would have been happy to read when I was a child, the present children are bound to find it interesting. I do have a feeling that the trends in the manga world is changing, but... Yeah, I definitely think that it'd be bad to change. When I talk about not changing, it might sound like I'm saying that we should keep writing old stuff, but that's not it at all. On the contrary, I think freshness is necessary.
To put it more concretely: I want to stay at that moment when I'm writing a pirate manga with fresh things that have never existed before, and sending it into the world where the readers eat it up - the moment when I'm working like mad to send One Piece into the world. That moment has to go on unchanging.
Boys will always stay with the one who keeps creating fresh new things, that is timeless. That's why the creators have to maintain the state where we keep making original and interesting things - you could say that we have to "preserve" it.
In order to preserve this, we have to keep moving forward, even though there might be some who have the delusion that once you've reached popularity, you can just stop at that point and work on routine. But if you do that, you're no longer "preserving" - you're "regressing". To release repetitions is the same as releasing old stuff."
Even entering your eleventh year of serialization, you're still burning with enthusiasm for manga.
"I always want to keep creating something that's better than what I've ever done before. Of course, if you want more people to read your creation, you need to have that feeling."
---
Boxes to the side:
Page 2:
Oda-sensei's workflow for a week:
Monday - Comic creation
Tuesday - Comic creation -> Finishing manuscript!
Wednesday - Staff meeting (usually by phone), Color illustrations, Anime related things, etc.
Thursday - Color illustrations, Anime related things, etc.
Friday - Sketches, Arrival of assistants ("I make them come early so that I get into a situation where I can't escape. (laugh)" --Oda-sensei)
Saturday - Sketches
Sunday - Comic creation
--
Manga-talent TECHNIC 01: Draw the picture you want to draw!
"There's always some particular picture I absolutely want to draw in every arc, so I work the story to arrive at that picture. For example, in the "Sky Island Arc", I wanted to draw the Camp Fire picture." (JC volume 32) The little "playing" going on in the corners of some pictures is also fun. "People notice even the little things that I think no one will see, and that makes me happy! It makes me want to do it again!"
--
Manga-talent SHOT 01: A secret of how the story is put together
Sometimes the sketches go past the allowed number of pages, because I prioritize the pictures I want to draw. When that happens, I cut out out the frames and put them back together like a puzzle. By the way, the picture I wanted to draw in chapter 522 was Luffy's face like this (from WJ #51).
--
Page 3:
Manga-talent SHOT 02: The masterpiece is born here
Oda-sensei's desk. There's research material piled up on both sides of the large, rectangular desk. The paper spread on the desk bears traces of many scribbles. Even when Oda-sensei isn't sitting here, it's a strange space, with a whirling, hot atmosphere!
The assistants' room. There are lots of DVDs on the decorative shelf to the left. "It's mostly Westerns, historical movies, and old black-and-white Kurosawa Akira-films." At the back end of the room, there's a cozy space for staff meetings.
--
Page 4:
Manga-talent TECHNIC 02: A verrry close viewpoint
A powerful illustration that surprised Amano Yoshitaka-sensei ("The characters are bursting out from the picture!") in an interview recorded in the illustration collection "Color Walk 3" (from a poster included in WJ 4-5 1999). Luffy's and Sanji's feet are drawn very big, and we can see that Oda-sensei's viewpoint is almost moving in under them.
--
Manga-talent SHOT 03: A mix of common and original tools
A mechanical pencil has been customized by cutting it shorter (topmost in the picture). Oda-sensei has started using three G-pens at the same time, so that when all three of them break down, he can change them together. It saves time.
--
Manga-talent SHOT 04: The source of the colors are Copic and colored pencils
Oda-sensei uses mostly Copic (the above picture). The Holbein colored pencils were introduced because he wanted to draw an "Edo picture". You can see the Edo picture drawn by these pens on the cover foldout in JC volume 52!
--
Manga-talent SHOT 05: A treasure found - a big notebook
For every arc, Oda-sensei always creates notebooks - at a pace of one every three weeks - with detailed information on the settings and characters. The picture shows those created for the "Island of Women arc".
سكانز 1
سكانز 2
سكانز 3
سكانز 4
Mista Koo
Creative Director
عمار راجع ردي على حسين تحت
وهذا من طيب أصلك.. كون ردودي يحكمها عقلي وليس مشاعري تخليني ما أرد عليك:
ولكن الصراحة أطالب بمحاكمة ضد زيل.. بأي حق ينعتني بالفشل إن شا الله:؟! لا وهو حاط أول شي بالقوانين "الإحترام والأدب".. ولن أرضى بمخالفة القوانين خصوصا إنها من اللي وضع القانون :spy:
لازم تتحاكم! وإذا ما انطردت أو اتنفركشنت رح.. رح.. رح.. رح أزعل :sadwalk:
مجرد أسلوب المغامرة مو عاجبني "كثير" زيكم
وأصلا ذكرني مجيد إنه بدري أحكم عالقصة خصوصا إن الأنمي ما خلص ومعظمهما مجهول
بعدين حسين أنا علقت عالأكشن من حيث إخراج مقاطع القتال والأنميشن فقط.. الصراحة معظمهم ما حسيت بالحماس الكافي معاها/ضخ الأدرينالاين وقتها
لول ومن متى النقد كان عيب؟ في ناس تاخذ راتبها عشان تنقد (ومئات المواضيع انفتحت لهم بالمنتدى :w00t🙂 هل هذا يقلل من قدرهم؟ (طبعا غير إنك ما طالعت غير السلبي بردي)
وهذا من طيب أصلك.. كون ردودي يحكمها عقلي وليس مشاعري تخليني ما أرد عليك
:ولكن الصراحة أطالب بمحاكمة ضد زيل.. بأي حق ينعتني بالفشل إن شا الله
:؟! لا وهو حاط أول شي بالقوانين "الإحترام والأدب".. ولن أرضى بمخالفة القوانين خصوصا إنها من اللي وضع القانون :spy:لازم تتحاكم! وإذا ما انطردت أو اتنفركشنت رح.. رح.. رح.. رح أزعل :sadwalk:
بخصوص القصة يمكن لما طولت كلامي ضاعت الفكرة ولكن رح أعيد صياغتها.. "بطء الـPace والجزر والمغامرات ذات القصص الفرعية"بخصوص الميزات كلنا نتفق فيها طبعا
بخصوص العيوب .. امممممم
بالعكس ون بيس فيه قصة عميقة و مترابطة بشكل مذهل .. فيه أشياء طلعت بأول حلقات و ربطها أودا بالحلقات الحالية بكل براعة
بخصوص الأكشن .. هو صحيح مو بمستوى كثير من أعمال شونن الأخرى لكنه يبقى مرضي و ما يوصل لدرجة اني أعتبره "شي سلبي" ، و ملاحظ انه الأكشن في المسلسل يتحسن ارك عن ارك ، بس الأكشن في ون بيس فيه نقطة ذهبية يتفوق فيها على الجميع .. و هي التوازن أو البالانس المضبوط دائما .. عمرك ما بتحس انه ملك القراصنة واحد أهبل مثل ما بحس انو تسونادي مثلا لا تستحق لقب "هوكاجي" ( كمثال فقط ) ، و ما بتشوف شخصيات هبلة تهزم شخصيات أقوى منها ، البالانس دائما شبه بيرفكت في المسلسل إلا في حالات نادرة ، و كل شخصية تحس انها تستحق مكانها تماما
أنا معاك تماما بخصوص تصميم موريا العبيط .. ما عنده هيبة شيشيبوكاي .. وهو أكثر تصميم انتقدته في المسلسل للأسف
و طبعا يظل ون بيس يمتلك أفضل شخصيات رئيسية + أفضل قصص فلاش باك على مستوى أي أنمي .. كلها أوريجينال ، و الأحلى بالمسلسل الحفاظ على الطابع و النكهة الأصيلة بالأدفنتشر و ما بتشوف أبدا الكاتب يغر من أسس المسلسل و يتراجع مستواه مثل ما صار مع أنميات كثيرة .. ون بيس هو الوحيد الي محافظ على مستواه و يتحسن من ارك إلى آخر ، غير الاقتباسات و التلميحات التاريخية الكثيرة في المسلسل ( تحس أودا ناوي يجمع كل الأساطير القديمة و الحديثة في عالم و قصة واحدة ) ، هذي الأشياء تجتمع و تجعل من ون بيس الأنمي المفضل لنا P:
مجرد أسلوب المغامرة مو عاجبني "كثير" زيكم
وأصلا ذكرني مجيد إنه بدري أحكم عالقصة خصوصا إن الأنمي ما خلص ومعظمهما مجهول
بعدين حسين أنا علقت عالأكشن من حيث إخراج مقاطع القتال والأنميشن فقط.. الصراحة معظمهم ما حسيت بالحماس الكافي معاها/ضخ الأدرينالاين وقتها
المواضيع المشابهة
