CLAMP Told That Some People is Suitable for the Commercial Publishing and Someone is Not .





— What’s the secret of being able to work together for 15 years?

Ohkawa: Maybe because, when we work, we are not friends.

Doing manga is our job. We are able to forgive things char we would not be able to …

if we were friends, because we are professionals.

But sometimes there are things we can’t forgive since we work as professionals.

Igarashi: We are professionals while we are working,

and we are friends when we hang out together.

We change our mind-sec depending on the situation.

Nekoi: Sometimes, there are things you can’t stand if you are just friends.



— Would you recommend self-publication to artists seeking to debut?

Ohkawa: It depends on the person.

When you publish a book by yourself, you can draw it just for you,

but you can’t do that when you work for a publisher.

If you really want to go for commercial magazines,

you need to understand that—otherwise you would suffer later on.

Some people are suited for commercial magazines,

so it’s good for them to start there.



Hideaki Anno said He had no choice but to collage.


Hideaki Anno


I think we can not help but to collage other works in making a animation. 

There is nothing for it. If there is an original thing,  it is my life. 

Nobody experienced my life other than me. 

therefore, I have only a choice to exploit my life in creating an original work.” 




Nadia: The Secret of Blue Water

Chika Umino said she had no choice but to go this way, a Creator of ”March Comes in Like a Lion”




“If I draw Shogi, it is boring because there are not three sisters. If I draw 3 sisters, I do not care if I do not have a shogi scene. Women are hard to purchase if I draw it in a youth magazine, and men are hard to go if the original picture exhibition is held. I scream at night with Rei.
I don’t have the other way anymore.  “



Katsuhiro Otomo Made it Clear that He was Surprised When “Akira” was accepted worldwide.




Q: Akira, one of your most famous works, is also well recognized abroad. What do you think is the reason behind its worldwide success?

A: I didn’t make it with a foreign audience in mind. To be honest, I haven’t made anything intentionally directed toward a foreign audience. But I was certainly surprised when I recently went to the Academy Awards and received a standing ovation.


Q: The Tokyo Olympics are set to be held in 2020. The fact that this corresponds with the plot of Akira has led some web users to believe that you predicted this would happen, or are some kind of prophet. What are your thoughts about this?


A: It’s merely a coincidence. I just imagined how many years it would be until another Tokyo Olympics, and went with that hunch. It was an acquaintance of mine who actually told me about it. They said, “Isn’t it amazing?” and I remember responding, “What are you talking about?” Until then I had no idea, so I was quite surprised.


Katsuhiro Otomo



Hideaki Anno, Creator of Neon Genesis Evangelion, Felt He Was Not In The Peace World Anymore.


Neon Genesis Evangelion


Q: He explained where his early vision of his concept of making animation came from.


In addition to the aesthetics of explosions, Anno was naturally drawn to apocalyptic visions as a child growing up during the Cold War, with its ever-present threat of nuclear war.


“It was imprinted on my psyche that Tokyo could be annihilated any minute,” he says. “That kind of imprinting expresses itself in my work. I never experienced the horrors of war that my parent’s generation did, but the imagery is very familiar to me, as is the Cold War-era fear of nuclear war. I’ve read many books and seen many TV dramas and movies that dealt with such themes. They’ve influenced me greatly. I no longer think we’re living on the brink of extinction, but the feeling that it could happen is still with me.”


Hideaki Anno


Japan’s many natural disasters have also had their impact on his work, as shown by the tsunami that ravages the world of “Evangelion.”


“That leads to the beginning of something new,” Anno says. “The tsunami wipes out the world and the story then focuses on how the survivors rebuild it. That reflects how I imagine Japan. I don’t know about other countries, but if I were to symbolically tell the story of Japan that’s what it will look like.”






Hajime Isayama, a Creator of Attack on Titan, Told on His Childhood in 2014


Attack on Titan



Q: –What about worries about the opposite sex?


Isayama: That could have been part of it too. I grew up in a rural area, so I was surrounded by the same people ever since preschool, and it felt pretty weird when people started dating all of a sudden in junior high school. It seemed gross to me — we’d grown up together almost like siblings.


Q: –Wouldn’t that same group of people have gotten shuffled around in junior high school?


Isayama: There were just the two elementary schools feeding into the one junior high school, so in each grade, you had two classes of just over forty students, and it was not a fun situation to be in. It wasn’t so much the dating as it was the peer pressure, and the whole rah-rah school spirit mindset, that I just couldn’t deal with.


Hajime Isayama


Q: –When was it that you started getting into manga and video games?


Isayama: Junior high school. I’d watched anime and read manga up until then as much as the next kid, but I didn’t know that there was this whole world of otakudom out there until I became friends with a Sega fanboy in junior high.




Fujiko F. Fujio Said Who Should Become a Manga Artist on 2007.




Remarks of Fujiko F. Fujio


“I’ve often heard opinions that say: ‘If you want to become a Manga Artist, you should go out, play around and have a romantic affair. If you have poor life experience, then you are not fit to become a Manga Artist’ I completely disagree with these opinions.


That’s it; the contents of the refrigerators in most houses are the same. Many Manga Artists who have ‘experience of human life’ will cook with these ‘ingredients.’ They will think to themselves: ‘I have to use this…’ As a result, most of the dishes they make are made from experiences of the commonly used school life.


However, You must create manga based not on your experience, but on discreet research. With that, the possibilities of your creation will expand endlessly. I support manga made by people like that. I’d wait for manga by miserable losers more than manga by smarter people who can do well in everything every single time.”





Fujiko F. Fujio

Steve Jobs said “Just make it gereat!” When He Pixar started.


Steve Jobs didn’t sketch one character in Pixar’s new movie, Brave, but his handprint is on every frame. During an interview on Charlie Rose, John Lasseter, the chief creative officer for Walt Disney and Pixar Animation, told a short, insightful story about the late Apple CEO who had purchased Pixar in 1986 for $10 million (Jobs would later sell Pixar to Disney for $7.4 billion, making Jobs Disney’s largest shareholder). Steve Jobs introduced the Pixar team to his pixel-level obsession with excellence.


Jobs Remarks

In Lasseter’s first meeting with Jobs, he wanted to tell Jobs about a short film he was working on that would show off Pixar’s technology. Pixar was mostly a hardware company at the time and Lasseter was the studio’s only animator. After Lasseter pitched the story, Steve Jobs offered fours words of advice: “Just make it great.” It was the only guidance that Jobs gave Lasseter. That short, Tin Toy, won an Academy Award for the best-animated short film, the first time an Oscar had been given to computer animation.



The Story of Pixar Animation


George Lucas, Steve Jobs, Andrew Stanton



George Lucas recruits Ed Catmull from the
New York Institute of Technology to head Lucasfilm’s Computer Division, a group charged with developing state-of-the-art computer technology for the film industry. Lucas’s wish list: a digital (nonlinear) film editing system, a digital (nonlinear) sound editing system, a laser film printer, and further exploration of
computer graphics.


Steve Jobs purchases the Computer Division from George Lucas and establishes the group as an independent company, “Pixar.” At this time about 40 people are employed.

Pixar and Disney begin collaboration on CAPS, the Computer Animation Production System, which would revolutionize the creation of traditional animated films. The first check written to Pixar by a client after its incorporation is from Disney, for work on this project.


Andrew Stanton and Pete Docter join the company. By the end of the year, each animates a commercial – Andrew Stanton completes “Quite A Package” for Trident, and Pete Docter animates “Boxer” for Listerine. Pixar’s commercial work gives the company invaluable experience in pitching, storytelling, and working with clients, and allows it to develop and refine its production pipeline.


Toy Story, the world’s first computer animated feature film, is released in theaters on November 22. It opens at #1 that weekend and will go on to become the highest grossing film of the year, making $192 million domestically and $362 million worldwide.

Pixar’s initial public offering takes place just days later, on November 28. It is the largest IPO of the year. (More)








Q: How did Kubo start life, and what was it about this one that made you want to direct it yourself?


A: I’ve always loved big epic fantasy stories.

I think that’s kinda in my DNA because when my mother was in the hospital recovering from having me she read me J.R.R. Tolkien’s The Lord of the Rings.

She loved these stories and as I grew up would buy them for me and read them with me: C.S. Lewis, Frank Baum, Lewis Carroll,

so I’ve always loved these big epic stories and have always wanted to tell a story like that.



Q: Did you still get hands-on involved with the animating too?


A: Oh yeah! I still animated!

I am one of the fastest animators at the studio

so I figured I may not be able to animate at my normal pace

but I did the math and figured I could probably do this many minutes a week,

and then I got into the directing part of it and all that went away!

[laughs] But I still got to animate on the film.

What I would do is get there really early

and animate for about an hour before anyone else got in,

then people would show up, I’d direct all day,

and then after they left I would animate all evening.

So I still got my hands dirty, but it was slow going!



Travis Knight