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卧底理财师

内有Geof Darrow 松本大洋

 
 
 

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松本大洋最新采访!!!  

2011-09-09 22:01:25|  分类: 漫画 |  标签: |举报 |字号 订阅

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我把采访的部分翻译了,想具体的了解详情的请直接看英文部分吧。

水平有限,欢迎指点。 


Interview: Taiyo Matsumoto

来自 :Christopher Butcher

翻译:卧底理财师

先介绍了此次采访的缘由。

To celebrate the release of No. 5 by Taiyo Matsumoto for the iPad, (and the first-time ever release of the complete series in English), I asked comics retailer, Toronto Comic Arts Festival impresario and manga-fan extraordinaire Christopher Butcher to have a conversation (via email) with Matsumoto-sensei about No.5 and his career in manga. He kindly obliged, so to kick things off, here's Chris' intro to Matsumoto-sensei's work, and their discussion.


然后是松本大洋的介绍。

AN INTRODUCTION TO TAIYO MATSUMOTO
I first came across the work of Taiyo Matsumoto in PULP, VIZ Media's manga anthology magazine aimed at mature readers. A collection of gritty, sexy seinen manga titles (complete with newsstand distribution!), PULP introduced a lot of unique, surprising adult manga at a time when properties geared to kids and teens like Pokemon, Sailor Moon, and Dragon Ball ruled the roost.

Serialized in PULP a chapter at a time, Matsumoto's Black & White (Tekkon Kinkreet in the original Japanese) was unlike any manga I'd ever seen before. Loose, angular, aggressive, and unafraid to be downright ugly and brutal. I have to admit... I didn't like it very much at the time, as it was so far different than my other PULP favourites like Banana Fish and Strain. It wasn't until the first collected edition of Black & White was released in 1999 that I went back and gave the series another chance, and I'm so very glad I did.

While the brutality of Matsumoto's world was too shocking for me at first, interspersed with other, cleaner narratives — in its own collected edition it was perfect. The trade paperback of Black & White allowed me to be fully immersed in the dense, twisting world of Matsumoto's 'Treasure Town.' The darkness, scratchiness, the insanity leaping off the page became de rigeur— normal — and that allowed me to see deeper into the story, into the ideas that he had so expertly woven into the work. It was only when I could come to Taiyo Matsumoto's manga on its own merits, in its own context, that I fell in love with it, and it is a love that has stayed with me ever since.

While Taiyo Matsumoto's creations have always been favourites amongst hardcore manga fans, the Japanese public 'discovered' Matsumoto-sensei through a film adaptation of one of his most endearing works, Ping Pong, a 5-volume series that expands on the fraternal themes of Black & White/Tekkon Kinkreet. The film adaptation of Ping Pong was a massive hit in Japan, spurring huge displays of his manga in bookstores across the country.
Matsumoto again came into the national — and then international — consciousness with the animated film adaptation of Tekkon Kinkreet, which cleaned up on the festival circuit taking many top awards in Japan and internationally. Both films (as well as a third based on his Blue Spring short story collection) are available in North America now, and I highly recommend them.

(Note: Ping Pong is available on DVD from New People/VIZ Pictures. Tekkon Kinkreet is available on DVD from Sony Pictures).

But as great as the films are, it is Matsumoto's manga that most captivates me. VIZ Media has also released Blue Spring, a collection of short stories inspired by Matsumoto's youth, Go Go Monster, an original graphic novel of 400+ pages (a true rarity in Japan!) detailing a Shining-esque haunting of two young boys at an aging elementary school, and the sci-fi superhero thriller No.5 (Number Five). While I count Go Go Monster and Blue Spring amongst my favourite manga, it's No.5 that has made my soul ache since its original release in 2002.

Like all manga fans, I have always wanted what I couldn't have, and the 8-volume* epic serial No.5 was discontinued in English immediately following its second volume. For roughly 10 years, I have agonized over the series, not knowing what happened to the characters I had just begun to know, not knowing where the insane world-spanning series would take me, and knowing that it would never be completed in English (due to poor sales, alas). My only options to complete the series were to improve my terrible French language skills (the series has been completely translated into French by publisher Dargaud) or learn Japanese from scratch — neither were terribly likely options.

Today, however, No.5 is newly, completely, finally available in English.

In a unique move, a brand new No.5 stand-alone app has been released for the iPad, where you can download a bilingual edition of the complete series of No.5 in Japanese and English. I am very pleased to report that the app is great, and more importantly the work itself is everything I wanted it to be and so much more. No.5 is even more sprawling, even more epic, and so completely different to what I thought it would be when I started that I'm happier than I had imagined having finished it.

Finishing a great manga series is very often bittersweet, the joy of completion mixed with the regret of something you love ending, and with no more to come. I'm quite happy to say that it was an incredibly fitting conclusion, and I'm looking forward to reading it again. And again.

Having finished No.5 I was granted a very special opportunity — to interview No.5 creator Taiyo Matsumoto about the work, and to share that interview with all of you. As you might be able to tell from the above, I've had questions in my head for Taiyo Matsumoto for more than 10 years, and I have had such a deep appreciation for his work that the opportunity was a little daunting.

Moreover, the iPad app version of No.5 comes with an excellent, very informative interview between Matsumoto and Hideki Egami, Editor of IKKI Comics Magazine (the monthly magazine that serialized No.5) and I didn't want to step on their toes.

(Note: The interview between Matsumoto and Egami is available as a special bonus that is "unlocked" with the purchase of all four volumes of No.5.)

In the end, I'm quite happy with the interview and while I could talk to Matsumoto-sensei for hours about his work and career, the insight into his career and work was very valuable, and I appreciated it a great deal. I hope this interview and this short appreciation will entice you to read all of his works available in English — Tekkon Kinkreet, Blue Spring, Go Go Monster, and of course, the newly released No.5. He truly is one of the greatest manga auteurs working in the industry today, and while I might not have picked up on that on my first exposure to his work, I sincerely hope you won't make the same mistake.
- Christopher Butcher

*P.S.: While No.5 was originally serialized in monthly IKKI magazine and then collected into 8 volumes, recently the work was re-released in a 4-volume bind-up edition, and this is the version that is available in the iPad app.


关于【吾】的介绍与问题。

INTROS AND QUESTIONS ABOUT NO.5
Christopher Butcher: Hello, my name is Christopher Butcher, I am the manager of The Beguiling, a comics specialty store, as well as the founder and director of a festival dedicated to comics and manga here in Canada. I am also a journalist writing in English about comics and manga. Thank you very much for the opportunity of this interview-I've been a very big fan of your work since the publication of Tekkon Kinkreet (Black & White) in English in 1998, and I have followed your career closely. It is an honour to be able to ask you these questions.

很高兴【吾】完成了英文版的翻译。这部作品花费了你5年多的时间,当它现在呈现在你英语国家的粉丝面前时,你感觉如何?

很高兴我的作品能让更多的读者看到。

 

在【吾】最初版单行本中,你选择了不常见的大尺寸(而不是日本通常的平装单行本尺寸),你为什么做了这样的决定?你的读者和编辑对尺寸的变化有什么反应么?

因为在当年我受到了很多海外漫画的影响,我记得读者和编辑没有太大的反应(关于尺寸规格)。

 

在你所有的作品中(恶童、GOGO MONSTER、青春、以及根据乒乓改编的电影),似乎故事总是通过两个男性角色之间兄弟般的竞争关系而发展。但在【吾】中的故事发展是不同的,变成了父子之间关系的互动,您能否谈谈这一变化?

在我漫画中,我喜欢创建紧密如阴阳般的平衡,但过了一段时间后,觉得有些多余,所以我决定改变这种模式。

 

另外,在你的作品,我注意到很少有女性角色... ...但在【吾】中故事结局的关键人物,来自你设定的中心人物-Matryoshka。

我不是很擅长绘制女性角色,但在【吾】中我感觉我准备好了,所以我决定挑战自己创作一个女性角色。

我觉得在你的作品中,故事背景的设定令人难以置信的给力。比如【恶童】中气势雄伟且扭曲的城市,【青春】中充满涂鸦让人压抑的学校或是【GOGO MONSTER】中带有不祥预兆感觉的学校。这些背景设定往往会成为故事中的角色,并与其他角色互相影响,决定了故事的走向。

我喜欢描画的建筑和城市,仿佛他们是活着的个体。我认为这会使漫画更加的有力。

 

你过去提过影响你的漫画家包括Moebius、Enki Bilal、大友克洋(阿基拉)、石森章太郎(人造人009)和土田世紀。我觉得【吾】显出了Moebius的【Arzach】的影响,特别是角色骑马或飞越的梦幻般的沙漠。

Moebius是伟大的艺术家,我非常的尊敬他。虽然我并没有刻意模仿【Arzach】中的场景,但他的影响肯定存在我的作品之中。

 

关于【吾】,我觉得有三种相互冲突的不同理念:Victor所信奉的不受约束的发展与集权,No.1所倡导的绝对和平,和No.7提出的出于良心拒服兵役的想法。你认为No.1尝试乌托邦最终会比人类军国主义更有害么

我总是希望不同的理念可以一起共存,因为这样可以停止世界中的不同冲突。


 

It's very exciting to see your work No. 5 completed in English. You created it over five years ago, but how do you feel, now that it's being made available to your English-speaking fans?

Taiyo Matsumoto: It will make me happy it will help to reach as many readers as possible.

Christopher Butcher: You chose a very unique, larger magazine-sized format for No. 5 when it was originally created (instead of the usual smaller tankobon-sized paperbacks). Why did you decide to present your story this way? How did your readers and editors react to this change of format?

Taiyo Matsumoto: It was because back then, I used be influenced by comics from overseas a lot. I don't remember getting much reactions (about the larger page format) from the readers or the editors though.

Christopher Butcher: In all of your work, (Tekkon Kinkreet, Go Go Monster!, Blue Spring, and the film adaptation of Ping Pong) it seems that a deep competitive fraternal relationship between two male characters drives the story forward. In No. 5 the story is very different, with a paternal relationship between Papa and his children driving all of the action. Can you talk about this change?

Taiyo Matsumoto: In my manga, I used to like creating a balance between ying and yang by bringing the two aspects closer. But it got redundant after a while so I decided to change it up.

Christopher Butcher: Also in your works, I've noticed that there are rarely female characters … but the actions that set the story of No. 5 into motion — and bring it to its conclusion — come from your central character, Matryoshka.

Taiyo Matsumoto: I wasn't very good at drawing a female character, but at that point I finally felt ready, so I decided to challenged myself to create a female character.

Christopher Butcher: I feel like in your works, the setting of the stories is incredibly powerful —The imposing and twisting city of Tekkon Kinkreet and the oppressive and graffiti-laden school of Blue Spring or the ominous school of Go Go Monster!, for example, these settings often become characters in the story themselves, interacting with other characters and determining the flow of the narrative — and speaking to the reader sometimes.

Taiyo Matsumoto: I do enjoy drawing the buildings and cities as if they are living objects. I think it makes a manga more vigorous.

Christopher Butcher: You have in the past mentioned being influenced by comics artists including Moebius, Enki Bilal, Katsuhiro Otomo (Akira), Shotaro Ishinomori (Cyborg 009), and Tsuchida Seiki. I felt that your work on No. 5 showed an influence from Moebius's Arzach, particularly the dreamlike desert sequences and characters riding through or flying over them.

Taiyo Matsumoto: Moebius is the creator who I respect the most in the entire world. I did not deliberately try to make the scene look like Arzach, but his influence must have shown in my work.

Christopher Butcher: With regards to No. 5, I feel there are three different philosophies that are in conflict: the idea of unfettered progress and control, espoused by Victor, the idea of absolute peace at any cost espoused by No.1, and the idea of conscientious objection raised by No.7. Do you think that No.1’s attempt at a Utopia would have ultimately been more harmful than human militarism?

Taiyo Matsumoto: I always wish that different philosophies could coexist together, because that may put an end to different conflicts in the world.


画风与技巧问题。

ART AND TECHNIQUE QUESTIONS

我一直留意着你的艺术风格,自从你出道以来,你作品的画风有了非常大的改变。你认为这是一个自然的过程,或是你根据不同的作品类型主动地转变你的画风与故事的叙述模式?

我总是尝试画我感到喜欢并适合漫画世界的风格,有时也是看起来很酷的风格。

 

你是一个许多北美漫画家最喜欢的漫画家,他们非常想知道你如何绘制你的原稿。你能否简要描述你创作时的准备与所使用的工具么?

自从我开始画漫画,我一直在使用PIGMA牌的笔,笔尖宽度从0.1mm到3.0mm,我根据画面的大小选择不同的笔尖。最近也使用稀释过的油墨调描绘明暗对比

 

当我得知你在没有经过连载,没用助手独自1人完成【GOGO MONSTER】时,我很惊讶。这可是需要大量而细致的工作!在某些情况下你喜欢独自一人工作么? 

在过去的15年里,我与我的妻子一起创作漫画。我们总是在一起谈论不同的事情,然后把它们变成与图片与文字。

 

我非常的喜欢你使用不同的工具来创作漫画。在【吾】中,你使用了墨水,钢笔,铅笔,蜡笔,粉彩,和油漆。这些创造了一个非常独特的阅读体验。

我真的很喜欢我只用铅笔画的章节,有一天,我想尝试只用铅笔画整部漫画。




Christopher Butcher: I have followed your art style since your debut, and your work has changed dramatically since then. Would you say it has been a natural progression, or do you actively change your art and storytelling style to reflect the type of story you are telling?

Taiyo Matsumoto: I always try to draw in style that I feel like it suits the world of that manga, and also something that looks cool.

Christopher Butcher: You are a favourite creator of many North American comic book creators, and they would be fascinated to know how you create your original art. Could you briefly describe your working set up and which tools you use to create your comics?

Taiyo Matsumoto: Ever since I started to draw manga, I’ve been using a type of pen called "PIGMA." (note: Pigma pens are available in US from Sakura of America) The pen nibs varies in line weight from 0.1mm to 3.0mm, and I change the thickness of the line depending on the panel. Also recently, I have been using thinned down ink to make the contrast instead of using screen tones.

Christopher Butcher: I was amazed when I learned that you completed Go Go Monster! entirely on your own, without serializing and without the use of assistants. It’s such a huge and detailed work! Do you prefer to work on your own, when possible?

Taiyo Matsumoto: For the last 15 years, I have been creating manga with my wife. We always talk about different things together, and come up with the art and writings.

Christopher Butcher: I’m fascinated by your use of different tools in comics creation. In No. 5 you use ink, pens, pencil, crayon, pastels, and paints. It makes for a very unique reading experience.

Taiyo Matsumoto: I really like the episode that I drew with just pencils. One day, I want to try to draw an entire manga with just pencils.


关于职业漫画家的问题

QUESTIONS ABOUT HIS CAREER AS A MANGA-KA

许多受欢迎的漫画家会同时在不同的杂志上做不同的连载,但在你的整个职业生涯你每次只完成一部漫画是否有这样做的原因

这是因为我不能在同时间画不同的故事
 

现今是否有哪位漫画家的作品令你非常喜欢?现在发行的漫画中是否有让你感到兴奋的

我一直在重读我喜欢并尊敬的谷口治郎老师的作品我希望我还可以在像他这样年龄继续画漫画

你的作品已被改编真人电影,动画电影,戏剧,玩具版画,有没有你的一个特别的作品你想看到改编成另一种媒介,如电视剧,或是视频游戏

说实话,与我年轻的时候相比,我现在对这些不是特别感兴趣。虽然见到不同行业一些有才华的仍然是令人兴奋的

 

世界各地的读者对你的漫画似乎都很感兴趣,我知道在你早期的职业生涯时你去了巴黎,你现在还旅行你参加日本的漫画节还是世界其他地方的

去年我被邀请参加在西班牙漫画节。感觉非常棒!

 

您上次出版的画集【101】是在1999年,距今已经过了很久了。您是否考虑过编辑另一本新的画集

最近,编辑和设计师一直与我在谈论出版一本的画集我现在正忙于新的连载,所以可能需要等一阵了但我会尽力做好它


Christopher Butcher: Many popular manga-ka will have multiple serials running in different magazines, but throughout your career you’ve only worked on one manga at a time. Is there a reason for this?

Taiyo Matsumoto: It’s because I can’t make multiple stories at a time.

Christopher Butcher: Are there any comics creators today whose work you actively enjoy? Are there any comics coming out now that you are excited about?

Taiyo Matsumoto: I’ve been rereading works by Jiro Taniguchi-sensei (The Walking Man), who I love and respect. It make me wish that I can also draw manga that grows with the age like he does.

Christopher Butcher: Your works have been adapted into live action films, animated films, plays, toys, figures, etc. Is there a particular work of yours that you would like to see adapted into another medium, such as television, or video games?

Taiyo Matsumoto: To be honest, I am not interested in it compare to when I was younger, though it is still exciting to meet some talented people in different industry.

Christopher Butcher: You seem to be interested in comics all over the world, and the idea of an international readership. I know you went to Paris early in your career — do you still travel? Do you do comics events in Japan or elsewhere in the world?

Taiyo Matsumoto: I went a comic event that I was invited to in Spain last years. It was awesome.

Christopher Butcher: Your last published art book was 101, in 1999. It’s been a very long time! Have you considered compiling another art book?

Taiyo Matsumoto: Recently, the editors, designers and I have been talking about publishing a new art book. But I’ve been very busy with my current serialization, so it might take a little while, but I will do my best to make it happen.


See a sneak peek of pages from the first chapters of Taiyo Matsumoto's sci-fi epic in this No. 5 manga preview gallery.

No. 5 is now available as a complete 4-volume series for the iPad, on sale at Apple's iTunes Store. From now through September 30, 2011, the first volume of No. 5 is available for $0.99, with Volumes 2-4 priced at $4.99 each. When you purchase all four volumes, bonus content is "unlocked," including an exclusive, in-depth interview between Matsumoto and IKKI Comics Editor-in-Chief Hideki Egami, and a wallpaper featuring "The Numbers" from No. 5.


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