A letter to Norihiro Yagi

I'd like to hear what he thinks about anime adaptations in general, and if he wished for Claymore to be made anime or if it rather was something done like by his agents and publishers for monetary reasons.

I'd like to hear his opinion on what Madhouse did - I for my part feel that they did really great work overall that however did not capture the manga's feel 100% completely - hence I would much like to encourage him to look kindly on a second season of anime that stays closer to the manga OVA style and redoes the complete Pieta blunder and takes of from there ...

(and I do not just mean the blunder at the end; Claymore is dark and gritty, and the anime did that by displaying the grueling scenes, but in terms of visual stlye it could have been a bit grittier and go for a unique style like say Hellsing OVA - its not that I want it splatter - but , well, like the manga - the anime never felt as dramatic to me somehow even though I like it a lot)

I'd like to know if he still enjoys working on Claymore as much as in the beginning and if he does also encourage him to spend some more time with this universe he created, maybe do a mainland spinoff rather than overstretch the main story arc i.e.

And I would like to voice my dissaproval for off-panelling Renee in a manner of speaking, but I would also let him know that I forgive him cause he's awesome :cheez

pretty sure I could list a couple more but that is what comes to mind spontaneously...

I get the sense CM started off to explore philosophical themes and explore psychology, then changed tone into something more normal for a shounen manga - which is harder to pull off with monthly releases because of how the fight scenes get dragged on. It doesn't matter in Japan where the phone book sized volumes are merely adverts for tankobon, but it matters more to people who read scanslations and... never buy licensed volumes lol.

I was wondering where to put this and even considered creating separate topic for this but I think that this is the best place.

I've found an interview with Yagi Norihiro that has been translated to Chinese by TSS group (it was along with 107th chapter) and was wondering if there would be someone willing to take a look at it and present to everyone some more interesting questions and answers?

Interview with Yagi Norihiro (translated from Japanese to Chinese):

http://t.imgbox.com/aal2b5tC.jpg http://t.imgbox.com/aamIQFQu.jpg http://t.imgbox.com/aabAmmlZ.jpg http://t.imgbox.com/aagkscUE.jpg http://t.imgbox.com/aaxXSjUV.jpg http://t.imgbox.com/aaodcf1j.jpg http://t.imgbox.com/aagW2lwV.jpg

@Gooral:

I translated the first page. It's basically Yagi talking about his art.

Spoiler: Page One show

INTERVIWER: Your first collector's edition is on sale! It's really a high quality piece of work!
YAGI: I remember thinking there wasn't so much artwork, to the point that I asked: "Has enough of the coloured sets been collected & published?" So when it was time to compile everything, there were much more artwork than I could imagine, to the point that I was quite startled.

INTERVIEWER: How did you originally work on the original drafts? They have a very unique design.
YAGI: They're basically done using oil (pastel?) colours.

INTERVIWER: That said, the paper that you use isn't normal paper either?
YAGI: Generally speaking, in order to cope with the different grids, I have to use matte or glossy paper. When it comes to watercolour (untranslateable)... if not the prints become too bumpy.

INTERVIEWER: Really then, (is) bringing out the colour in your artwork your key (of your art)?
YAGI: People have different opinions about that. This time, the feel (tone?) of the colour can't be reflected completely in the original manuscripts, (to the point that) people say, "Yes, it's different."
PUBLISHER: I wish to receive a sample from your art collection that contains the finished colour of your originals.

INTERVIEWER: Being able to see the look of your finished original artwork would be great.
YAGI: It's very faithful to the originals. (In my) older drawings, because of the printing, the originally smooth colour turned out into some unexpected, inexplicable chunky designs. Back then, people might have thought: "why is it like this?", but I wanted all my printed material to be similar. Perhaps the colour artwork was too diffused. Some of the subtle colours were not really showing.

INTERVIEWER: So all the artwork and drawings you've made have been released or will be released? That's really something to look forward to. So after you've released these 18 volumes of manga, will you be taking some time do any corrections to your art?
YAGI: No. Because all the work for the time being is finally finished. There'll only be corrections if I feel really uncomfortable about it. Which means, as far as possible, the art will not be changed.

It took longer than usual because TSS is using a very traditional Mandarin script that hasn't been used in my country for several decades already. When I have time sometime later this week I might return to tackle the rest.

Also, I took a glance through the entire thing. He only seems to be talking about Claymore on pages 3 and 7. The rest seem to be about other manga he's published.

A footnote for reference, Yagi's name in Mandarin is 八木 ("ba mu", literally eight wood), just in case anyone wants to search for more Mandarin material.

I don't really see any question regarding the future direction of Claymore.
The interview seem to ask about Yagi sensei's life, his first manga Angel Densetsu, inspiration for Claymore, and like what Shelter said his art such as his style and influences.

Yagi said that he loves to play video games and his other hobby is reading novels.

The last question is interesting tho when the interviewer asked if Yagi sensei has anything to say to the readers.
Yagi sensei wanted the readers to dive in the manga, doesn't matter how we look at it, how we feel it, it is really up us (the readers) to interpret it and unconditionally decide what the is "the main point". He thinks that this is correct thinking way and he sees no problem in that. Since we live in the same world, then we should be able find our own interest, and if we do that, then he would be very happy.

Quote:

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The last question is interesting tho when the interviewer asked if Yagi sensei has anything to say to the readers.
Yagi sensei wanted the readers to dive in the manga, doesn't matter how we look at it, how we feel it, it is really up us (the readers) to interpret it and unconditionally decide what the is "the main point". He thinks that this is correct thinking way and he sees no problem in that. Since we live in the same world, then we should be able find our own interest, and if we do that, then he would be very happy.

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Wise words indeed, it's very good that he would say something like that :)

Indeed, it doesn't matter what interpretation, theories or whatever we grow to have...we're all united by the story we love to read :).

It's because of that he's such a good troll. He knows exactly which buttons to push to create a brain-storm (or shit-storm).

He's probably interested to learn the different interpretations people have.

I knew I've seen this interview somewhere before and here it is in Japanese: http://jumpsq.shueisha.co.jp/content...agi/index.html (click on 2, 3 and 4 on the side to go to the next page).

Can anyone translate it into Eigo please?

Oh yea, anyone remember to ask... how should Raki's name be written in romaji? Is he supposed to be called Rak, Roc, Lak, Lucky, Rocky...?

I notice this thread a bit too late! the Japanese link doesn't work anymore :( but ah wells, thanks for the Chinese scans and translation, quite a lot of intriguing background information, I'll take on a bit from here. It's quite long so I'll prioritise translating the bits I personally find more interesting. I'm not much of a translator so I apologise in advance if my English becomes a bit weird m(_ _)m





Page 2 is generally about his series before Claymore (Angel Densetsu for those who know, serialised monthly from 1992-2000). Because it was a comedy, so the interviewer was asking Yagi-sensei about his thought on the contrast (compared to Claymore, which has a more serious tone.)





Page 3:
-- "Claymore" has a story line that often runs back and forth from past to present. Haven't you put in a significant amount of effort in not letting that deter the plot, as well as preventing it from disrupting the flow of the story?

Yagi: Speaking of which, let's just say in these 7, 8 years, I never thought about it like this... Can't say I haven't purposely drawn simpler panels for easy understanding, or adding meaningful scenes in order to make the story progress easier. So even when choosing on art/design that makes more of an impact, I've got to consider art that is easy to understand.

-- Making an impact yet easy to understand, just from this I already think it's amazing. But I guess when it comes to laying out the plot, you're probably going for the 'easy to understand' aspect, right?

Yagi: Yeah, though I never consciously thought about this when drawing. Thinking back now, I might have considered a bit. But whether the readers like it or not, that depends on the person. I think there're probably bound to be people who still find it hard to understand.

Editor: Well I think the storyboard is easy to understand.

Yagi: About the storyboard, there certainly has been major effort put into constructing it.

-- As you've mentioned before, you've had to edit it quite a number of times in order to get that easy-to-understand effect, right?

Yagi: During the designing phase, I already have in mind whether it is easy to understand or not. After that, I'll make whatever improvements possible, so that every time I reread it, I can still feel immersed into the story.

-- That surprise and excitement you get when flicking through the pages is pretty amazing, too.

Yagi: The first editor for "Claymore" is praised for exactly that. He's very skillful in designing the pages (specifically the flipping of the pages) and double-pages. The double-pages for "Angel Densetu" doesn't have this 'shocking' effect, although there still are a few around, for example the special double-page portrait for the protagonist Kitano (laughs).

-- How do you find the action scenes? From an overview, there are a lot of these all over "Claymore."

Yagi: From the very beginning I love action scenes. Drawing the action makes me feel really happy. Even though "Angel Densetu" is a comedy manga, there're surprisingly a lot of action. Action x comedy, I really like this kinda style.

-- Ah I see, rich in story and rich in action, very powerful.





Page 4:
-- "Story is life," which means instead of overly caught up in the art, maybe...

Yagi: Indeed, you can't overly constrain to drawing.

-- Oh this is surprising.

Yagi: Rather than delibrately perfecting the art, I'd go for giving my all to generate the intense desire to finish this series for the readers.

-- Looking at elaborate series, don't you have that feeling of 'Maybe I should have drawn like this?'

Yagi: Hmm... I'm not too sure either. When I started drawing, I didn't have a set goal art-wise. But as the story progresses, the style of art will form the world in my mind.

-- I see. So for say, you're describing a different world, maybe the art style will then be completely different?

Yagi: Surprisingly, the drawing itself doesn't change so much. For example, some people say, if you look at volume 1 of "Angel Densetu" now, it feels horribly bad. But if you try reading the bound volume (remix edition 2007) from the beginning, the feeling is different. It's simply a case of the author accumulating experience, and thus drawing art and effects that are more easily acceptable by readers. In actuality, there isn't much difference between the two.

(TL/N: If the above doesn't really make sense, it's because I don't fully get what he's trying to say lol)

-- The latter part of "Angel Densetu" is also the same, the scecnes look very elaborate.

Yagi: Yeah. Had a good assistant, the background and what not gradually became more realistic.

-- How long does the drawing take you?

Yagi: It depends. Usually about two weeks.

-- Do you do the same sort of things during that time?

Yagi: Yeah, it has been like that recently. I'm now trying to colour in with Mac, but it hasn't been too successful. The book cover fold-in* for the "Angel Densetu" Volumes is exactly drawn with CG. Although I quite like doing it this way, the result is never satisfying. So for now my main tool of trade is still with a pen/pencil. Though for my next work, I'm still open to whatever methods of drawing.

-- When you draw, do you draw right til the end without hesitation?

Yagi: No, I hesitate very much. I don't know much tricks for drawing, so it has always been very exhausting.

-- Do you feel lost even accumulating so much experience?

Yagi: Mmm speaking of which, it isn't something happy to talk about. Although I did hope how nice it would be to become much more fluent in drawing, it still isn't easy at all even until now... Always wonder whether if people's taste/standard is becoming higher and higher, or if it's me who hasn't improved much.

-- What! You really think that?

Yagi: Compared to standards, I think experience is more important, because it's something you accumulate little by little. So if you'd allow me to say, I really admire good artists. I think, of all the mangaka... there are full of awesome people, very amazing.

-- So Sensei, who do you think are the good artists?

Yagi: For example, I think those who serialise in weekly magazines and have yet to make mistakes are very good, very awesome. I serialise in monthly mags but I still have to spend extensive time in order to make very sure to not make too many mistakes... If I were to go into weekly, I'd totally fail miserably, in designs, sketches, probably everything there is.

-- Yeah, manga takes time.

Yagi: Especially, how should I say it... Even though there are times I've gotta rely on instincts to draw better, but relying on instincts is far from enough.

*fold-in: I made the term up, not sure if a word for it exists already. Basically the bit of the book cover of the tankoubon when it folds inwards, and there's a block of introductory text as well as a small character image.





Page 5: Past of Yagi-sensei, his childhood, education, job after graduating, meeting people.

Page 6: Continue from Page 5. Also talks of his first few pieces of work, and also inspiration for the change of art style.

Page 7: Yagi likes playing video games, and sometimes he plays action games with his assistants during their break after lunch. Video games act as a pressure-relief. He likes reaing manga. But his mind runs wild with ideas for his own work when reading novels, so he never really finishes a novel.

-- Finally, please give a few words to your readers...

Yagi: Nothing special to say in particular (laughs) Everything I want to say has been drawn into the manga, no matter how you read it, no matter how you feel it, the revelation is all up to you. Even if people say "This is what the manga is about!" in something seemingly completely meaningless, I would still think this is the correct approach, and not a problem at all. For everyone to be able to find their own piece of enjoyment in the same world, I, too, will feel really really happy.



Edit: Btw Page 1 is already been kindly translated by Shelter up there↑ :)

Thank you Utsune for translating this :).

I think that's the problem - Yagi feels it's necessary to dumb down the story so that people would understand it. I don't remember such hand-holding in earlier chapters. E.g. in the newest chapter (135) he wasted 15.5 pages on a scene we knew only to show to even retards that it's important. Which most people I think knew from chapter 23 and it would suffice if he would do it in 2 pages. His priority seems to be to make the story easy to understand and that way now we have Dr. Deneve or Miria or Rubel/Dae explaining things in a heavy-handed way again so that retards could understand what's going on. This makes it like any other shounen which it wasn't when Clare was in the center. I would prefer if he would present the story he would find interesting and understandable and not AS MANY PEOPLE AS POSSIBLE.

Also, I thought he was doing all the work himself, without any assistants. In that case his artwork is worse than I thought, 30 pages per month that look worse than your average Gintama chapter (not to mention the plot).

Quote:

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Originally Posted by Goral

Thank you Utsune for translating this :).

I think that's the problem - Yagi feels it's necessary to dumb down the story so that people would understand it. I don't remember such hand-holding in earlier chapters. E.g. in the newest chapter (135) he wasted 15.5 pages on a scene we knew only to show to even retards that it's important. Which most people I think knew from chapter 23 and it would suffice if he would do it in 2 pages. His priority seems to be to make the story easy to understand and that way now we have Dr. Deneve or Miria or Rubel/Dae explaining things in a heavy-handed way again so that retards could understand what's going on. This makes it like any other shounen which it wasn't when Clare was in the center. I would prefer if he would present the story he would find interesting and understandable and not AS MANY PEOPLE AS POSSIBLE.

Also, I thought he was doing all the work himself, without any assistants. In that case his artwork is worse than I thought, 30 pages per month that look worse than your average Gintama chapter (not to mention the plot).

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Welcome :)

To be fair, the authors of the big names such as Naruto, One Piece and the likes, although serialising weekly, probably have three times the number of assistants, and as Yagi himself admits, they are extremely talented. Honestly I'd say Yagi's art is under average for your monthly mangaka. But the weekly ones I'd say are in general on a different level and comparison is not too meaningful. In case of Yagi, I think he has immensely improved from his previous work lol.

Plot-wise, I really do understand your frustration, or actually a number of us here may feel somewhat similar. In fact this doesn't just apply to Claymore. Time and time again we just want the plot to move on, want new information, and see what happen next. On the other hand, I wouldn't say the plot stays motionless for nothing. Like the recent chapter 135, the background provided is solid and has enough pages to make a decent-enough emotional connection with Priscilla, also while putting forward a number of implications with her 'father' streaming down tears as 'he' eats, at the same time drawing enough panels leading up to that point in order to generate an impact on the reader. I think the one important difference between manga and anime is that, reading manga means you can set your own pace. The action between the panels is kinda like the saying, 'reading between the lines.' It is where one's imagination will fill the gaps from panel to panel, in order to result in a 'cinematic' experience. I think the moment leading up to where Pris is implied to have killed her own father is a very good example of good panel-planning to bring out her emotions. (I do however agree that this is a compulsory set of skills for mangaka, but it is exactly this thought which makes the typical chapter 'underrated.') Whereas if you want a face pace, you can just zoom through pages and pages when the tankoubon comes out. Goes without saying, there isn't a right or wrong way of reading manga, and although Yagi has kindly said that you may read it in whatever way you want to and it still is good, I still feel that there is a significant intention by Yagi when drawing a Claymore chapter which shouldn't be undermined.

As a stand-alone chapter, the amount of new information presented isn't even close to satisfying, but as a tankoubon, I'd definitely be buying it because the whole story-telling isn't just this one chapter alone. Some chapters may be action, some may be build-up, some are casual fillers that might not mean anything on its own, but looking at it together when the tankoubon comes out may serve as lowering the intensity of the mood. On a macroscopic scale, it's just as beautiful as an artwork if you look at it on the whole. Personally I can really tell that Yagi loves his world of Claymore, and has gone into depths into elaborating the scenes while making it easily understandable.

Last but not least, the point's probably obvious but, from experience, readers of shounen manga magazines can be really really young ('cos I was buying them since 7 myself lol.) Of course Yagi probably isn't drawing for the really young ones, but my point is there will be relatively younger readers who may not understand unspoken implications of certain plot elements. Yagi himself knows he's pulling a compromise here really, sacrificing the enjoyment of the more quick-to-understanding of us, in order to make sure most of his readers know what exactly is going on, and it's only fair.

I may sound like I'm ass-kissing him and I may as well am, but I'm also defending, in general, manga with what some people feel to be a slow plot or the likes.

Sorry for posting something quite unrelated to the thread title, just making a bit of a reply that turns out to be quite long (><;)

I would most certainly, without a moment's doubt or hesitation, immediately type that letter up and slam that send button with only one burning question;

Why can't you produce Claymore chapters faster fffffffffffffffffffffffffffffffffff


Allmypain