SnK News: Isayama Hajime Interview in Weekly Shonen Magazine 2017 Issue No. 41

Kodansha’s Weekly Shonen Magazine features a new Isayama interview as part of their ongoing promotion for the 99th Weekly Shonen Magazine Rookie Manga Award!

Isayama himself was a previous competitor, with his work orz being a selected work back in 2008, for the 81st edition of the event.



A full translation will be available soon!

More on Isayama Hajime || General SnK News & Updates

Update (October 11th, 2017): Interview Translation Part 1 (First three images) Below!

Update #2 (January 15th, 2018): Interview Translation Part 2 (Second set of three pages) Below!

Translated by @suniuz​ & @fuku-shuu

Please link back to this post and/or credit if parts are reused!

(Pages 451 to 453)

Show your Work to Editors! ~Bring it to the editorial office - submission~

– I think most mangaka’s footsteps start with bringing your work to an editorial department and submitting it to a manga competition. Please tell us more about when you brought your work to Shokan Shonen Magazine’s editorial office.



Isayama: I was 19 years old when I went to that office with my work. The professional school (For manga and anime) I attended at that time organized a group submission trip to Tokyo, and I went with them. I visited numerous editorial offices of shonen magazines. At the last place I visited, the editor commented that “your drawing has strength within it,” and I was able to captivate his attention from there onward.

– How did you feel when you were actually presenting your work to the editors?

Isayama: I remember I was so nervous that my stomach hurt (Laughs). For those with the ambitions of becoming mangaka, presenting work to editors is just like a job interview, so of course we would be nervous. However, I still submitted my work without fearing any consequences or rejection. This dream of mine began during grade school, so unless I’m told in person, “You won’t make it,” I would’ve never given up. With this in mind, I sought to show my drafts to more professional editors in the manga industry, and I progressed step-by-step from there.

– Why did you want to present it to an editor rather than a teacher at the school?

Isayama: Editors are also representatives of the readers, so I wanted to attract critiques that stemmed from their more objective viewpoints. I felt by doing that, what I “desired to draw” would also inch closer to what the readers desired to read, but to keep those two elements similar still required a heavy dose of luck. Hence, in order to “absorb” a bit of that luck, an objective eye suddenly became a great weapon. I personally chose “presenting in-person” as my method, but as a novice, whether you do that or “submit [via mail],” showing your work to some professional editors beforehand is still recommended. Hence, I feel that an occasion like the “Rookie Manga Award,” which is judged by editors, is a phenomenal opportunity for anyone to take that first step in a mangaka’s journey.

– When you first presented the Shingeki no Kyojin original short (T/N: Chapter 0) for professional editors to critique, how did you feel?

Isayama: It felt very much like an entrance exam for university. When I heard the words “We wish to serialize it monthly [in Bessatsu Shonen]” at the Weekly Shonen Magazine office (T/N: WSM and BSM are both under the publisher Kodansha. WSM is the title that sponsors the annual Awards while BSM is where SnK ended up being serialized), I just went, “Ehhhh??” I simply could not believe it was happening. Speaking of which, during the process of me submitting my work everywhere, all editors outside of those at Weekly Shonen Magazine criticized my style as “Too rough-looking.” To me, those were very constructive comments and still benefited me in the end. However, at Weekly Shonen was when my manga was acknowledged by others for the first time, so it made me extremely happy. Thinking back, I wanted to convey my wishes of “creating an imaginative manga,” and the editor likely resonated with that. I recognize that point now.

– What specifically was the “too rough-looking” critique referring to?



Isayama: Basically everything, but especially my drawing skills. I personally felt back then that I didn’t deserve having “professional skill level” even as a goal to pursue. Though I had certain instincts towards my abilities, I didn’t have the drive to improve. Thinking back, my attitude was awful (Laughs). If you ask me why I felt like that, I had assumed that creating interesting storyboards was enough. During my student years at the professional school, whenever other students were focused on drawing, I was spending all my time storyboarding. However, after I won the Rookie Award, Satou Yuuki invited me to become his assistant. If there was one thing I couldn’t accomplish and added to Satou-san’s burden, it’s that I only realized at that point how drawing and storyboarding are equally important.

(T/N: Satou Yuuki contributed a ending card illustration for SnK Season 1, Episode 5)

Use the Grand Prize as the Target! ~MGP Rookie Manga Award~

– The first time you submitted you work, you received the MGP (Magazine Grand Prize; Different from Kodansha Rookie Manga Award).



Isayama: Yes, when I returned to Fukouka I received the editor’s phone call saying, “You won the MGP.” Up to that point, I was still indifferent towards the dream of becoming a mangaka - but suddenly, that goal became crystal clear. Once I graduated, I immediately used my prize money to come to Tokyo. I called the editor and told him, “I’m actually in Tokyo already.” only then did I feel pleasantly surprised [at my own actions] (Laughs).

– When you were aiming for the Rookie Award, what kind of life did you lead?



Isayama: I only started storyboarding my Rookie Award entry after I arrived in Tokyo, working another part time job while I finalized the content with the editor - my lifestyle basically juggled these two things. I no longer remember how many discussions we had over the storyboard, but it’s impossible for a storyboard to pass with flying colors the first time. Moreover, during the storyboarding process, I followed the editor’s orders and trained myself in replication, all in order to improve my drawing skills. Even though I had studied replication in high school, I only copied parts of artwork I personally enjoyed back then. On the contrary, the way the editor trained me was to use a single sheet of paper to reproduce a whole page. Since I had used entire sheets of paper, I learned how to properly divide up panels, where to position motion lines and sound effects, etc. The main works I replicated were Seo Koji’s A Town Where You Live and Morikawa George’s Hajime no Ippo. To this day, both works continue to influence me. Leading such a life, my resulting work Heart Break One received the 80th Rookie Manga Award’s Honorable Mention, while orz, through which I improved upon any shortcomings within Heart Break One, became a selected work for the 81st edition of the Award.



Advice for Beginners

– Do you feel like having some assisting experience is better?



Isayama: Yes, because then you can observe a professional mangaka’s process and manuscripts intimately. Not only can this improve your own drawing skills, but it’s also the most ideal environment to learn proper workflow and business communication methods, so I think having some experience as assistant is better. Shingeki no Kyojin itself was born during my days assisting Satou-san, and it stemmed from my experiences from that period.

– In your view, what kind of person develops the goal of becoming mangaka?



Isayama: Someone who does not fear harsh opinions or failure. For example, anyone who enjoys working out finds joy in the soreness of their muscles. Despite the faint pain, you can actually sense the growth of your physique during those moments. Setting your sights on becoming mangaka is the same. Despite failure, criticism, rejection - you can still absorb “nutrients” from those experiences. If you can manage to discover happiness for that reason, that’s a talent in itself.

– Have you ever felt, “Thank goodness I’m here at Weekly Shonen Jump’s editorial offices?”



Isayama: Until a certain time, I always created my storyboards at the office. I encountered other mangaka and became close with them - they could stimulate me in positive ways.

– What did you mean earlier by “shortcomings within Heart Break One?”



Isayama: It was an issue with the characters. Back then my thought process was restricted by the notion, “I must draw a standard manga” (T/N: Created with proper, school-taught methods). For example, I made sure all my dialogue was clear and concise, while my panel divisions were intricately organized - these types of thoughts filled my head. But after completing Heart Break One, I realized that reality shouldn’t be that way, and that messing around a little is actually better. It was also more interesting to have more randomized character designs. I understood that a standard manga does not automatically have strong appeal. Since then, I’ve kept the thought of “Just do whatever” in mind whenever I draw. In my view, creating with a sense of freedom is the only way to capture an author’s personality and charm. I think this was what resulted in orz becoming a selected work in the subsequent year.



Moving Towards Serialization!

– After orz was selected, what process did you go through to get Shingeki no Kyojin serialized?



Isayama: After I won the prize, it took about half a year to finalize a serialization. I drew concepts for about three brand-new works. While discussing back and forth with my editor, he eventually asked, “Let’s not go with any of these three. What do you think about serializing your previous oneshot, Shingeki no Kyojin?” Just like that, the series was born.

– As the special judge of the Rookie Manga Award review panel this year, what are you anticipating from the newcomers?



Isayama: I hope everyone can demonstrate the “wild side” hidden within their hearts. When you wish to draw manga, your human brain is likely partially demented already, right (Laughs). To me, these “questionable” people are the most appealing. When a rare opportunity arrives, especially when it’s not what society typically permits you to do, just go ahead and try it once - this kind of mentality is pretty good, no? If you have any idiosyncrasies that you cannot bear the general public ever discovering, I think you should actually illustrate exactly that in your works!

(Pages 291-293; Updated January 15th, 2018)

Secret #1 ~Creating Memorable Characters~

– When you create a character, what’s the first trait you decide on?

Isayama: I start from the design. First and foremost, I consider what kind of facial or physical feature is more interesting and attention-grabbing. Afterward, I observe the outer appearance and ask myself, “What would the character be like if they had this kind of personality?” For example, a person with an evil glint in their eyes corresponds with someone with a twisted personality. Something like that.

– Do you consider anything else?

Isayama: When I watch foreign television shows or films, I pay stronger attention to the actors with “memorable faces” rather than “pretty faces.” I feel like those are the faces that are cast more often in roles. In other words, although some are conventionally beautiful, others can make you wonder, “What’s up with their eyebrow??” “That chin protrudes way too much…” (Laughs) When I create characters, my intuition is to go with the “memorable faces.”

Secret #2 ~Utilize Future Happenings to Create Characters~

– Specifically speaking, how did the roles in Shingeki no Kyojin come about?

Isayama: I first determined on how the story would develop, and I created the characters accordingly. For example, in terms of Bertholt’s facial features, since I had schemed the “Bertholt = Colossal Titan” storyline, I maintained the mindset of “transferring the Colossal Titan’s face onto a human being” as I drew him. As a result, Bertholt’s head received a longer design, and his height was also influenced by this.

– Even though you said that your character designs come after story development plans, has there been a case when you decided on the charater’s look first, before something significant happens to them in the plot?

Isayama: Christa [Historia]. When I first started Shingeki no Kyojin, a lot of characters appeared early on in the story. But in order to ease the plot progression, I decided to make sure that the main ten [From the 104th] were thoroughly designed no matter what. At that time, I thought there should be at least one “moe”-style character, since that might make the readers happier, right? With this in mind, I decided to draft Christa as a perfect, somewhat vacant character that only had the quality of being cute (Laughs). Hence, when I first started drawing her, I didn’t feel delighted at all. However, as the story expanded, Christa’s “emptiness” actually became her personality. From the surface, she’s a pretty character, but she possessed no individuality and had a hollow heart. Gradually, she evolved from that initial persona of simply “fulfilling what is required of her,” and that evolution also helped enrich the story. Now she is one of my favorite characters.

[Page 293 - Top right Christa image caption: “The moment she evolved from being a ‘vacant’ character”]

– You said you gradually started to like Christa. Then who is your favorite character in SnK? Please tell me why as well.

Isayama: Even though my favorite character changes from time to time, it is currently Reiner. He is someone who carries the burden of self-reflection on my behalf. If you ask me what this means, I’ll say, “Reiner is a perpetrator of the Shingeki no Kyojin universe.” Like him, I created far too many tragedies for my characters, so I’m also a “perpetrator.” Therefore, I am creating this manga while hanging on to this common thread with him (Laughs).

[T/N: The term Isayama uses here for Reiner is “加害者,” which is not ambiguous in its meaning of perpetrator/aggressor. We were admittedly surprised that this was actually Isayama’s reason for loving Reiner, as it’s apparently not as much about sympathizing with his circumstances.]



Secret #3 ~Constructing Flaws~

– When readers peruse Shingeki no Kyojin and see the characters living in such a hopeless world, they might get feelings of, “It really is like this!” “If I encounter this situation, I would definitely feel this way!” Personally speaking, this kind of “realism” is a huge appeal of the series. What do you think of when you create these realistic, living characters?



Isayama: Manga is a fantasy created from a blank canvas, so no matter what the actual conditions are, one can create their ideal character. For example, you can create a perfect Mary Sue or Gary Stu. However, even if I create characters like that, they will inevitably evoke “fantastical” and “artificial” qualities no matter what. Thus, I think the characters who fail due to their flaws are more appealing. For example, if there are issues with their personality, or if the shape of their nose is bizarre, leading to certain degrees of self-consciousness. This way, any readers possessing similar flaws can relate to them or even consider them as people who also understand the torments of being human - and the characters in turn become attractive. When I draw villains, if I just convey them as being evil, there is no realism. Another way to look at it is, “This person isn’t trying to act evil, he or she just holds a firm belief that their path is the righteous one.” If I draw according to this, then even villains will embody something more in-depth.

Secret #4 ~Don’t Let Your Characters Lie~

– What is Isayama-sensei’s ideal character like?



Isayama: “Someone who does not lie.” From the story’s circumstances, to “lie” means the character twisted his or her original will/resolve. I find the most appealing are those who operate according to their resolve, as well as those who, as metafiction would say, rise up against the entire world. on the contrary, I feel that characters who become pawns of the storyline are unattractive. Often, the main character will give up on their original goals due to the story’s development, so those who stand opposite of him or her can become more fascinating.

Message of Support

– Please send a message to aspiring mangaka!



Isayama: If you yourself don’t feel like your work is interesting, there is no way it will become interesting. Therefore, please make sure to confirm that it is riveting to you. In this world, we have a collection of films, books, manga, and music that will never be fully consumed, even if we dedicate a whole lifetime to them. Because you were born in this era, please first enjoy these works to the fullest extent no matter what, and accumulate these feelings of “intrigue.” After that, if you can’t restrain yourself from creating manga, and your desire for self-expression becomes uncontrollable - when you get to this point of excitement, I hope you release all those impulses on paper and showcase to the world something only you can create. I will also anticipate reading that kind of work!

[Page 292 - bottom box]

Isayama-Sensei Personally Speaks on Shingeki no Kyojin’s Characters!

– Regarding the characters in SnK, is there a case where your vision actually matched up perfectly with the fans’ preferences?

Isayama: The popularity of Levi. Even though he is strong and striking, he is also tiny in stature. So I thought that his flawed characteristic of “no matter how amazing, still rather amusing” would become addictive to readers. I think I may have successfully imparted both coolness and relatability unto him.

– On the other hand, which character’s reader popularity differed the most from your expectations?



Isayama: Eren. Because Eren is someone who exists due to the story itself, to make him “alive” is actually quite difficult. In other words, he is a slave to the story. I personally feel like I didn’t create him with much liveliness, so I definitely felt that his reader popularity reflected otherwise.

– Within Shingeki no Kyojin, who is the most “ideal” character to you?



Isayama: Ymir. Personally speaking, she is who I spent the greatest amount of effort designing. As an extension of that, Ymir’s Titan transformation is also a moment I really, really love. During my creation of the manga, the one thing I wanted to try out was inspired by Youkai Ningen Bem, which showed transformations from human faces to that of hideous monsters. When I had the opportunity to draw Ymir’s Titan form, it felt like I had fulfilled a dream.