Translations Archive

PROFILE

TORIYAMA, Akira

Born 05 April 1955 in Aichi Prefecture. Made his debut in 1978 with Wonder Island in Weekly Shōnen Jump. In 1980, began serialization of Dr. Slump in the same magazine. Has also done such things as the series Dragon Ball and the character designs for Dragon Quest.

PROFILE

KATSURA, Masakazu

Born 10 December 1962 in Fukui Prefecture. In 1980, received an honorable-mention Tezuka Award for Tsubasa (Wings). In 1983, began serialization of Wingman in Weekly Shōnen Jump. His most recognizable works include Video Girl Ai, DNA², and I”s. Is currently serialized in Young Jump with ZETMAN.

Side A

■ Two big names join forces to make the ultimate collaboration comic a reality in Jump SQ…!!

Please tell us how you came to do this project.

Toriyama:

There was talk from Editor-in-Chief [Masahiko] Ibaraki that he wanted me to write something for Katsura-kun to draw. He was persistent in remembering I had previously hinted that “if it’s just the story, I might be able to do it”. (laughs) And Katsura-kun is an old “war buddy” of mine from the Weekly Jump days, so I could rest assured that if I left it up to him, he’d probably make it interesting. Plus, the styles of our works are almost completely opposite, right? I was also interested in seeing what would happen with that in a collaboration. There was talk from Editor-in-Chief [Masahiko] Ibaraki that he wanted me to write something for Katsura-kun to draw. He was persistent in remembering I had previously hinted that “if it’s just the story, I might be able to do it”. (laughs) And Katsura-kun is an old “war buddy” of mine from the Weekly Jump days, so I could rest assured that if I left it up to him, he’d probably make it interesting. Plus, the styles of our works are almost completely opposite, right? I was also interested in seeing what would happen with that in a collaboration. Katsura:

But my check of your storyboard was pretty harsh, considering that. (laughs) Toriyama:

That’s because it’s you, Katsura-kun. If it was some young kid, even if they thought it was lacking it would be difficult for them to say so.

How did he come to you, Katsura-sensei?

Katsura:

I was in the middle of ZETMAN Hell. Toriyama-san called me in the middle of the night, and told me, “You and I are going to be doing a collaboration”. I didn’t believe him at all — I thought it was a bad joke. I mean, I’ve already got a serial and all. Only, the moment I heard I was going to work with Toriyama-san, I forgot my own style and thought I’d try to match him. In that case, I thought, I’ll use this opportunity to change myself, and draw an extremely deformed style of art….

What was it like for both of you, doing a collaboration like this?

Toriyama:

Since way back, I’ve enjoyed doing the storyboard, but really hated inking. So, I was simply glad to get just the good part. Since way back, I’ve enjoyed doing the storyboard, but really hated inking. So, I was simply glad to get just the good part. Katsura:

Although I was quite the nag. Toriyama:

You were a nag, all right. (laughs) You read the storyboard and said, “There’s no content.” I like stuff without any content. But he really wants to put some actual content in. Things like “human themes”. I hate that kind of stuff. (laughs) Katsura:

With this job, I can now confidently say that Toriyama-san actually aims to draw things devoid of content. So for me, this storyboard was my archenemy. He deliberately does it so as not to put in anything that invites emotion. Plus, Toriyama-san‘s stories progress with high energy the whole time. Toriyama:

Even I only realized that part after you told me the other day. Katsura:

So, to put it badly, you could say the tale has no climax…. But that’s Toriyama-san‘s touch, so whether I should keep that in, or change it up… I still haven’t come to an answer.

■ Dueling Preferences — Toriyama vs. Katsura

Toriyama:

In comics, dumb interactions in the middle of the story are my favorite thing. So I don’t like things that express humanity. It feels like losing. In comics, dumb interactions in the middle of the story are my favorite thing. So I don’t like things that express humanity. It feels like losing. Katsura:

What are you losing? (laughs) Just the other day, we were consulting on the storyboard, and you were really reluctant. Toriyama:

You’re my polar opposite, Katsura-kun; you want to move people so much you can’t help it. Katsura:

For example, things like the scene where Sachie is bothered by her birthmark, Toriyama-san is incredibly unsentimental about. But for us humans with common sense… Toriyama:

Whaddaya mean, “humans with common sense”? (laughs) Katsura:

Even an energetic, spirited girl… still worries because she’s self-conscious about her birthmark, right? So when I tried to add one single line of dialogue… it was just, “No no no no”. (laughs) I wasn’t going to be drawing some sentimental girl; it’s just that adding a bit of description would have gotten it across better to the readers. Toriyama:

Yes, I know that. Katsura:

It took two hours just to convince him. (laughs)

And that exchange happened every time Toriyama-sensei sent a storyboard?

Toriyama:

He’d start complaining as soon as I sent it. I did the storyboard with 30 pages, but ultimately it ended up at this half-cocked length of 53 pages. He’d start complaining as soon as I sent it. I did the storyboard with 30 pages, but ultimately it ended up at this half-cocked length of 53 pages. Katsura:

That’s part of being a professional, Toriyama-san. I wanted you to scrutinize it, so that in your mind, you might think, “we don’t really need this part”. (laughs) Toriyama:

… And you could have given me some concrete ideas, but you’d just leave the particulars to me. (laughs) I came up with the reason for Sachie’s strength after much struggle, all because you said, “Why did she get stronger?”

■ Tough Going on the Storyboard — Masakazu Katsura: Editor?!

So after that, you entered into the official storyboarding phase… was it tough going, then?

Toriyama:

Even after I started drawing the official storyboard, Katsura-kun kept making these little nitpicks that were neither here nor there… Even after I started drawing the official storyboard, Katsura-kun kept making these little nitpicks that were neither here nor there… Katsura:

Wait just a second! Are you making me the bad guy here…? Going by the way you’ve been up to now, Toriyama-san, I thought it’d turn into the kind of work where Sachie defeats the enemy with a single kick. (laughs) I just requested that you at least avoid that.

With your involvement, Katsura-sensei, were there any parts in particular where the storyboard changed?

Katsura:

Things like characters’ justifications — things which I suppose from my perspective have a sense of “a normal human being would do this”. Toriyama-san‘s characters are “living in a dream”, so they’re completely untethered from unpleasant or dark aspects. Because of that, the characters don’t have any worries that come out. Things like characters’ justifications — things which I suppose from my perspective have a sense of “a normal human being would do this”. Toriyama-san‘s characters are “living in a dream”, so they’re completely untethered from unpleasant or dark aspects. Because of that, the characters don’t have any worries that come out. Toriyama:

I can’t draw people with worries. Katsura:

That’s part of your artistic color, Toriyama-san. But this time, I guess I was afraid that if I kept it that way and drew it in my own art style, it would be like, “What have I been doing for all of 53 pages?” I wanted to play it safe a bit and expand upon Sachie’s mental aspects, since Toriyama-san deliberately tries to water the story down.

By getting rid of the “human feeling”-type elements?

Katsura:

Right. That’s where the battle began. I’d challenge him with, “Shouldn’t we do it this way?”, And while Toriyama-san would go, “Ohh, I got it, I got it”… the storyboard wouldn’t be revised at all! (laughs) Even then, I’d stand my ground, and say, “Couldn’t we try changing it just a bit more…?”

You were practically an editor.

Katsura:

I’d say, “Please, give me a little bit more of things like the sense of despair as the village suffers in poverty!” Things like that!! I’d say, “Please, give me a little bit more of things like the sense of despair as the village suffers in poverty!” Things like that!! Toriyama:

I hate that sort of thing. (laughs) Katsura:

But that was written in the initial plot, and reading it, I thought it’d make a good story. What about how I feel? (laughs) Toriyama:

Our priorities are different. If I let down my guard, you immediately want to bring out some humanity. Katsura:

I don’t want you to get the wrong idea; I just wanted to emphasize, just a tiny bit, things like Zalid-kun‘s troubles and Sachie’s heart-warming side, which were part of the plot already. It’s not like I wanted to make it a dark story! (laughs) Toriyama:

Like I said, you imagine some amazingly human things from the plot, and that’s why it’s no good. Katsura:

(laughs) L- listen here just a minute! When the initial plot has all this human material, it naturally pulls at your heartstrings, doesn’t it?! And then of course I end up thinking, “Let’s liven up the tale by expanding on this”! Toriyama:

Well, with this many pages, even I wasn’t sure about not having any content, naturally. (laughs) Katsura:

But when I try to put in an emotional scene, you overreact! Toriyama:

But the people reading it will be moved. Katsura:

It’s OK to be moved!! (laughs)

■ Enjoyable Elements of the Collaboration Project?!

Are there any elements you challenged yourself with for this collaboration?

Toriyama:

I drew it because it’s a collaboration with Katsura-kun, but by myself, I would absolutely never draw a girl in a sailor suit as the main character. I’m just no good with girls who are young and in-the-now.

How was the color title page of Sachie?

Toriyama:

I’m really satisfied! I just can’t draw this kind of art. The lips in particular are good. It really is cute. Katsura-kun is a real pro. (laughs) I’m really satisfied! I just can’t draw this kind of art. The lips in particular are good. It really is cute. Katsura-kun is a real pro. (laughs) Katsura:

Come to think of it, you’d said something about making the setting a big city, but then it wasn’t. Toriyama:

I wasn’t doing the inking, so I thought you might be able to draw a big city, with complicated backgrounds… but I’m a dyed-in-the-wool lover of the countryside, so I couldn’t come up with an urban story. Katsura:

Well, that makes my job easier, too, so I don’t mind… But the panels were small, and there were a ton of people! Such an amount, and me, the one who had to draw it!! (laughs) Toriyama:

Come to think of it, you got angry that there were a whole 11 panels on one page, didn’t you. Katsura:

… 11 panels isn’t normal! And on top of that, in spite of the small panels, one would have about 3 characters in it.

Did you have any other ideas based on your assumptions of Katsura-sensei?

Toriyama:

Of course. For instance, I put Sachie’s birthmark on her butt. Because when it comes to Katsura-kun, it’s butts. (laughs) Of course. For instance, I put Sachie’s birthmark on her butt. Because when it comes to Katsura-kun, it’s butts. (laughs) Katsura:

But you did cut the shower scene, didn’t you. Toriyama:

Yeah. Because I’m shy. Katsura:

While we thought the readers would be expecting it; both Toriyama-san and I are twisted. Toriyama:

Right. There’s this feeling of, “How could we stand just going there as-is?”. Katsura:

It might also have been better to make her butt look like the art in I”s, but my objective this time was a deformed style. Toriyama:

As for me, I wanted to make things retro, or rather, like the simple shōnen comics from a long time ago. Something taking the straight and narrow path. Katsura:

Yours is different, Toriyama-san. The straight-and-narrow path is stuff like “Friendship, Effort, Victory”, isn’t it? Toriyama:

That’s a slogan Weekly Shōnen Jump decided on its own. (laughs) Katsura:

In that case, what’s your idea of the straight-and-narrow, Toriyama-san? Toriyama:

“Silliness wins!” Katsura:

(laughs) I think that’s an exceptional bit of Toriyama-color. It’s not the kind of thing the man who drew Dragon Ball would say, is it?

■ The comic starting on the next page — Its highlights are…?

Please tell us about the highlights of this work.

Toriyama:

The highlight is… Katsura-kun‘s artwork, I suppose. The highlight is… Katsura-kun‘s artwork, I suppose. Katsura:

Ehh? That’s the highlight? Toriyama:

There’s also the point that I think I incorporated too many different things into the storyboard. I’m sorry about that… Katsura:

“Sorry”, he says! (laughs) Toriyama:

But it was fun. Doing the story is nice. If I’m doing this, I think I could continue doing comics for a little bit longer. (laughs)

… If possible, we’d like to finish off the interview with “Check out this part of the body of the comic!”

Toriyama:

Well, your saying that puts me into a pretty big bind. Well, your saying that puts me into a pretty big bind. Katsura:

The part where she breaks apart the disposable chopsticks, I guess. That’s my favorite part.

That’s really more Toriyama-sensei‘s thing, isn’t it?

Katsura:

Yes, he loves it. Also, stuff like mistaking the aliens, and the silly little jokes. (laughs) Yes, he loves it. Also, stuff like mistaking the aliens, and the silly little jokes. (laughs) Toriyama:

I suppose those parts unrelated to the story might have been what I got into the most. Katsura:

Stuff like, “Why is there suddenly this factoid about newts?” (laughs) It’s nothing but that kind of thing, when it comes to highlights.

… So in other words, it’s full of highlights, down to the smallest details! It’s a must-see!!