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Jump Festa 2010 + Interviews de Oda Eiichiro


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- 2010 -


Premières images de la Jump Festa 2010 (merci Greg @AP) :


008caw.th.jpg 009wol.th.jpg 011fx.th.jpg 013mb.th.jpg 015ca.th.jpg 017fv.th.jpg 018qd.th.jpg 019mf.th.jpg 023dt.th.jpg 024in.th.jpg 026ht.th.jpg 028e.th.jpg 033x.th.jpg 029vv.th.jpg 036ts.th.jpg


Et enfin, des stylos que Tekehiko Inoue (Slam Dunk, Real, Vagabond...) aurait offert à Oda : 037ta.th.jpg


+ Interview du maître parue dans un magazine de mode japonais (Non-No Fashion Magazine) dont Luffy a fait la couverture (merci Greg toujours) :


Magazine : It’s exactly 10 years since the animated series began and on December 12th the 10th movie will debut so to begin, you handled the story this time around, how was it?


Oda : At first I outright refused. I’m the kind of guy who can only take care of one thing at a time so to deal with both the comic and a story was just impossible. I know that about myself best so I asked them to let me off the hook but the producer who’s been good to me in the past wouldn’t give in so I explained my terms and said that if Mr. Children did the main theme then I’d do it. (laughs)


M : So that probably made your your already packed workload for the serialization even more difficult right?


O : I thought I was gonna die for sure. Even just dealing with the drafts of the serialization, there are other jobs that come in and the movie filled all of that up to the point where I was just thinking about it day in and day out. It even opened up a few gaps in the serialization and there wasn’t much left of me after the whole thing. That’s why I made a declaration to the movie staff that nothing like this would ever happen again. In exchange for that, I made absolutely sure this film will be a smash. I told them that’s the only thing they can expect me to be responsible for. I guarantee the excitement of this film.


M : It’s been 12 years since the serialization began and in that sizeable chunk of time, the tension has never once let up, it’s only gotten increasingly more exciting. Is there some trick to how you keep your readers thirsty for more?


O : I don’t think there’s any trick to it. If you’ve got a serialization that runs a good number of years, then your readers are going to become adults and there was actually a time when I worried that they might drift away. But then on the other hand, when I realized that means there are children being born too so if you don’t drift off target and aim straight then you just need to hold onto the reality that while you might lose some readers, they will always be replaced and that helped me come to terms with the situation. If you just believe in continuing to draw what you think is interesting, new readers will come and sometimes there are even cases where people who stopped reading for a while, will come back.


M : Why made you think about writing a pirate story from the start? Is there some work that influenced you to that end?


O : I don’t know if it was an influence as much as it was just a starting point but that would be the animated series ‘The Little Viking Bikke’. When I saw that, from that point on ‘adventure’ simply became synonymous with ‘pirates’ to me. Actually, I always wondered why people weren’t writing about pirates. I thought if I drew pirate stuff it would let me draw a grand adventure.


M : And oh how grand it is. You even had a ship fly through the air.


O : Anything’s possible. I set it up so that the impossible is the norm on Grand Line so I can do whatever I want. The weather is hazardous, the sea is rough, there aren’t many ways for people to come and go as they please, so it isn’t that strange if you’ve got these cultures independent of each other. For example, if I wanted to write about some kind of school drama story, all I’ve gotta do is draw a School Island. I can go about my own way as I please because of how I set it up so anything can happen.


M: Before you began serialization, did you have most of the plot decided?


O : Nope, I didn’t have much. Just the ending.


M : Huh? You know the ending? [bad interviewer. Baaaaad. No biscuit!]


O : Yeah I know it. So however crazy I make it now, all I’ve gotta do is reach that point and if I do that, everything will be fine.


M : I don’t want to push too hard so I won’t ask anything beyond this but do you think it would be safe to consider the ending a long way off?


O : Since it’s already decided, there’s a part of me somewhere that wants to hurry up and draw the last image but in reality, I don’t think that will be for a long time. Because, I want to think about how I handle each of my characters appropriately, I don’t want to just throw away a pawn just to set up a checkmate, if I just think about writing in the moment, it’s bound to get long no matter what. Recently the crew has grown in number again and even when just one thing happens, I wind up wanting to draw all of their reactions so that takes even more time. But wanting to portray each individual character’s story like that that is something readers sympathize with me for so I just don’t want to overdo it. So when that happens no matter what I do it just ends up getting longer.


M : One Piece can really be a tear-jerker.


O : I didn’t think about myself as that kind of author. Mainly because I loved drawing action scenes. That’s something I realized about myself only after serialization began. That’s typical me.

M : Have you ever been writing and started to cry yourself? [bad interviewer! BAD! In the cage!]


O : Yes definitely. Other people’s work doesn’t make me cry, but my own work makes me fall apart. (laughs) Probably because I think so hard about it.


M : Now there are 56 volumes out and whenever I read it this always amazes me but with material so much material it’s remarkable how tightly woven the story is.


O : Yeah, I’m pretty good aren’t I. (laughs) Of course I handle it on a very minute scale but when I look back on some things, there are just some things that have worked out miraculously all by their own. But I don’t want to disappoint anyone so I don’t really talk about those things. (laughs) I think that’s even more impressive than the things I actually intended.


M : When you’re drawing are there any rules for yourself with respect to things you absolutely will not do?


O : I like to draw party scenes. So I don’t want to draw anything that would ruin that atmosphere. And this is a manga for boys so I won’t draw anything about relationships. I get a lot of letters from female readers asking me to cover some kind of relationship but if that’s what you want to read, go read a girl’s manga, that’s not my job. I don’t care if someone falls for Luffy, but it’s something that would be over before you know it. But knowing Luffy, I don’t think that kind of thing would be a problem. (laughs)


M : When you were 17 the short comic WANTED! Won 2nd Place in the Tezuka Awards but when did you first want to be a manga author? [bAD interviewer! Get in the basement! Git!]


O : It’s something I had already decided by the time I was four. My dad went to the company and worked and my mom stayed at home and did chores. I thought being an adult meant doing those kinds of things but at one point, I learned that there were people who could make a living drawing pictures and it seems that I actually said, “That’s what I wanna be.”


M : When you got the Tezuka award did you think you had already made the big time?


O : There was definitely a part of me that thought I could instantly go to the top. I took manga too lightly back then. Cause I was stupid. (laughs) I thought if I could get that far with just that kind of work, it would be smooth sailing, so I made the pilgrimage to Tokyo and from that moment, everything came crashing down. No matter how many sketches I handed in, none of them got approved. Back then I had way too much pride in my own work, to the point where I would read someone elses’ work all the while thinking that my own was more interesting. I was a real piece of work back then. But, thankfully, I came to realize how much strength I actually lacked and when you do that, you finally see how big the wall in front of you really is. To write an interesting 19 page comic in just one week, one after another, is not something humans are capable of. I now believe that people meant to be manga authors are born into it. And that was a shock. There were times that I fell face-down and wouldn’t be able to move of my own will for a week.


M : Did you ever think about giving up on becoming a manga author? [Good interviewer! Gooood boy!]


O : Yeah I did actually. It was only once, but I thought to myself, “Well, there’s still time for me to make it as a salary man.” But I was saved by the words of my editor at the time. The two of us were always fighting but one day he said to me, “In all my years, I’ve never seen a guy like you who works so hard but has nothing to show for it.” That brought on the tears. Just those few words put me at ease and I thought about going for it with everything again.


M : And so One Piece was born and its popularity spread like wildfire but did you ever think it would be this big?


O : Well of course I knew that if I drew pirate stuff it would be interesting but I never thought it would happen that fast. It instantly spread and flared up in popularity. But since many things in this world have a way of vanishing before you know it, it’s pretty scary when I think about it.


M : What kind of things about the serialization make you happy?


O : Yeah, that’d probably have to be whenever I make a good story. I’m a wreck when I can’t do my job well. I wind up moping if I don’t feel I’ve fully completed a good story. More than just being unable to stand myself, if I don’t think my prints for the previous week went well, I can’t rest until I make up for it the next week. Manga is something that if I fail at, the only way I can make up for it, is with manga. I’m weird that way. (laughs) No matter how busy my private life might get, if I can’t devote time to manga I’ll just end up being frustrated. That’s just who I am. I make it harder for myself.


M : So you’re a perfectionist.


O : Only towards the comic. I’m really trailing when it comes to my private life. Yet again, I’ve only been home once this year. I’m busy so there’s no choice there really.


M : How do you handle your family? [Gooood interviewer! Who wants a treat?]


O : They come to stay at the workplace once a week. I have two children and they’re adorable. (laughs) I want to spend more time with them and right now that’s really bugging me. As far as work is concerned that which is ‘cute’, is a nuisance. If it’s your friend or something, and you don’t see them because you’re busy it’s no big deal and they’ll understand but for my kids there’s just no way that applies.


M : By the way, what characters do your children like? [Good interviewer! Who’s a cutey?]

O : They like Nami-chan. Nami-chan and Chopper. But basically it seems that they like ‘Pretty Cure’ better. And so it is that Pretty Cure is that which stokes the flames of rivalry in my heart. I wanna take Pretty Cure down. (laughs)


M : I think you probably hear this question a lot but what Devil’s Fruit would you like to eat? [bAD INTERVIEWER! WE’RE TAKING YOU TO SEE THE MAN IN THE WHITE COAT AGAIN!]


O : Purely as the dream of any man, I’d probably like to eat the Suke Suke Fruit. (laughs) But ultimately I’d probably want the Hana Hana Fruit. If I had lots of hands I could do my work much faster.


M : It’s a strange way of saying it, but you really love manga don’t you.


O : I like it and I also feel like, “Well I started this thing so…”, However, I believe that manga itself should always be ‘The Lord of Killing Time’ so I don’t want to cram any deep messages into it. I just write it as something that should be easy to enjoy, something you can read when you’ve got free time and at best, I’d be happy if it could help students make friends at the start of new semesters. Because that’s what can happen when lots of people read it. If everyone is reading the same manga, it doesn’t matter what school some kid came from, if you’ve got something to talk about in common, then it’s easy to make friends. Something that’s really mysterious about One Piece is that since women read it too, I’ve actually gotten fan letters that tell me mutual fandom has led to marriage. So I’m not really trying to say something about the world, I just think the reason I draw manga, or maybe you could say one of my roles in life, is to connect people.


+ une autre interview parue dans le "Movie Book" (merci WinningDays @MH pour la trad) :


(suite dans le post suivant)

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(Suite) :



Staff Interview - Oda Eiichirou


The concept of the movie is to try to fit in all of the things that shonen love.


-----In this movie adaptation, Konishi Yasuharu is in charge of the opening music, and right from the start we can sense a different taste than usual. The pictures also went along perfectly with Konishi-san's music.


Oda: I feel that that is the music of Konishi-san. Actually, the opener is based on the intro of a song that I've always liked by Konishi-san, which he used to create a new song for this. From the scenario meeting stage, I was adamantly insisting that "A movie is the opening!", and conversely the section director was like, "It's the ending!", so with the careful selecting by us two, we had the conviction that there was no mistake about the quality of the opening and ending songs from the very beginning.


-----Then, I guess we can't miss the ending song after the main show.


Oda: During the ending song, something that is related to the story will be shown as it plays through. This is where the section director is particular though, so I left it all up to him. At first, there was talk about "still pictures," but I requested, "By all means, please animate the pictures and meticulously go over all the details." (laughs)


-----This time, Oda-sensei was "supreme commander of all production," but have you felt like you wanted to try doing a movie adaptation in this way earlier?


Oda: I had absolutely no feelings of wanting to try it. I can only write manga, so unless I put my all into one thing, I become careless. That's why at first I declined saying, "I can't do two jobs at once so...." But Shimizu-producer wanted me to do it no matter what. He said "Just the plot is fine"...and so I got caught in that trap. (laughs)


-----About that, what kind of story is there behind how you ended up working on things from the creature designs to "supreme commander of all production?"


Oda: Since I promised to accept doing the plot, I had to do it, but at that time as a condition I said, "I'll do it if MisuChiru (Mr. Children) will sing the theme song." If something good would happen to poor me...kind of feeling. That being said, we couldn't get MisuChiru confirmed right away, so in the meantime, I got started on the work I received. When it came to that, I started wondering who's going to direct this, who's going to be the animation director, who are the people that are going to be involved in the thing that I'm putting all my effort into making? No matter how good of a plot is made, if the people who raise it into a work can't accept it, then I lose by putting out my name. If something off is produced, then I'm the one who tripped up. I thought this was a serious affair, so I began sticking my neck in various places. From around then, bit by bit I did sense an ominous air but.... After doing that, the section person I trust the most agreed to be the director, also for the art we searched for someone who would draw the closest to the original work, and steadily the staff was decided on. From that, the art in response to the plot becomes better. But no matter what, I just couldn't be satisfied.... Despite the good staff9, the fact that the animals weren't my drawings started bothering me. In this movie the animals are extremely essential, how strong they seem, and how interesting as living things the kids would see them as was very important; so for the time being, "I'll just draw the animals that'll be main characters. I entrust the rest to you," is how it went. But then, as I drew various things, unless I drew everything it became intolerable. "I won't let them use any drawings besides mine anymore!" ...What is it with me, I wonder (laughs). Anyways, as I long as I was doing it, I wholeheartedly didn't want to let it fail, a lot of worries and troubles piled up, and I started sticking my neck in places I didn't expect to. To finish it off, I even ended up doing the color coordination. After that, Shimizu-producer gave me that strange title. "Is 'supreme commander of all production' okay," he asked. I don't know what kind of image the people of the world have of "supreme commander of all production," but they must imagine it to be a person who has taken substantially deep steps in everything. If so, then all the blame has to rest even more on me, so I thought there's no choice but to do this for real, so I began doing the check work too. And that's how it got to the current situation.


-----Although there have been nine movie adaptations in the past, is this time's the first work that has to be filtered through Oda-sensei's check?


Oda: It is the first. I'm no pro at anime, and naturally my stance is, "Leave anime to the anime pros." If I say even the slightest thing, it is certain that from there responsibility is born, so I shouldn't take even one step into anything, I thought I knew that but.... Those first words from Shimizu-producer trapped me. I fell for it splendidly.


-----This time's story of Luffy fighting to protect his nakama and his home town gave me the impression of returning to the basics of this work, but is there a point that Oda-sensei particularly cared about?


Oda: I thought the story itself would better if it was as simple as possible. Thinking of the movies I like, myself, they aren't the deeply moving ones for sure; but instead, they are the cool movies that I seem to like. And there was a part of me that decided whether a movie was good or not based on how many scenes left an impression on me after I watched it. That's why the story doesn't really matter or rather, I basically thought it'd be fine to not be too concerned about it. Of course, in order to put the contents in order, a story will naturally be born from the core of it, but besides that, I set the concept of this movie as to try to fit in all of the things that shonen love. I know ONE PIECE has a wide range of fans, but the shonen that are at the center of it are actually the beings furthest from the movie theater, or rather they are kids who can't take action to come to a movie theater. Whether it's because they're trying to act cool or they're embarrassed, it's like who'd want to go watch something like an anime movie. To get those boys to move, to call them to the movie theater, is my strongest feeling. No what kind of thing is made, as long as that work is ONE PIECE, the female fans are nice so they'll come; of course, I want those people to enjoy it as well, but to make a movie that would get those kids that normally wouldn't be moved to was my aim. And when I thought back to the things that I liked a long time ago when I was a shonen, as could be expected, fights between strong animals are what I remembered clearly. That must be something in my nature as a man, but the thing that shonen love the most must be that, is what I concluded. Even if that concept was disliked by the female fans, I am a shonen manga writer, so I have no regrets about that. Anyways, my determination to create a work for shonen that will make them want to come to the movie theater was the start.


-----The title, STRONG WORLD, did it also come from that?


Oda: In my memories from childhood, I remembered liking the word "STRONG." Even in the Kamen Rider series, I liked Stronger the best. In truth, Kamen Rider Stronger wasn't even broadcast in my hometown, Kumamoto, but the name is cool (laughs). Because of that, it turned into, since I like the word "STRONG," I'll draw that kind of world, and that's how it became STRONG WORLD.


-----On the point of costume design, the appearance of Luffy and Co. in black suits was fresh. In the original work on the opening pictures, there has been some fun with fashion drawn, but what made you decide to take that into the anime?


Oda: I've also drawn the suits appearance before on the opening pictures, but by nature, I just like that kind of atmosphere. Within the current story, there hasn't been a situation for them to wear that kind of costume, but the popularity of those opening pictures was high, so I thought if we get those to move, then wouldn't that be the coolest. At any rate, I just wanted to do everything that can be called "cool" because that's what this movie is about.


-----And that's what connects to the scene where they raid Shiki's place, right? *(by the way, this scene was so cool, I almost died. seriously, it was like the coolest thing ever, ever)


Oda: Yes. It's a raid on a snowy night. It's as if it appeals to the Japanese DNA, it's just like Chushingura, isn't it. No matter what, I really wanted to depict as coolly as possible, the thing called a "raid" that I think of as a rise in the excitement of the story. In the world, there are many kinds of stories, but actually at the core is the saving of the damsel in distress. This gets old, young, male, and female, all people fired up. That's why that and the other things I really wanted to draw become one of the starting components. Images I want to draw and the things I want to depict are gathered, and building the story up from there is my usual way of doing it.


-----This time Nami is depicted precisely as "the damsel in distress," but that is what, conversely, makes it fresh.


Oda: Well, I sort of had an inside policy to not handle female characters as heroines so... (laughs). The era where women are only protected has already passed and in that long history, shonen manga has continued to only depict the kind of "women that women would not acknowledge." But for ONE PIECE, my feeling was to draw the kind of characters that could be liked by both sexes; for example, there's the woman-admiring Sanji, I wanted to give him an element that would, without fail, make him likeable to men as well. I want them all to be heroes, so I strive to line up characters that everyone will watch with admiring eyes. The Strawhats are a group that was gathered with that theme. That's why up until now I didn't draw women being in a weak position just because they are women or the easy setup of getting abducted. But, maybe at this point it'll be okay. Just once, Nami gave in and implored to Luffy, "Save me," but since then she has rarely shown something like a weakness. But now, when the readers have acknowledged to this extent that Nami is a woman with a strong disposition, I thought it would be okay for her to be the damsel. I also thought that they are now in a relationship where they can show their weaknesses to each other. But still, I worried about various things. The first image that came to mind had the form of Nami betraying her nakama, but I wanted to give it a somewhat eccentric feeling.... Something that I struggled with for the "betrayal" was that Nami has too much faith in Luffy and everyone. No matter how strong of an enemy it is, Nami has too much faith that Luffy and everyone will defeat them. So no matter what kind of story I create, she wouldn't be abducted and "please let me be your nakama," are words she would never say, of her own accord, to an enemy. When they were already extremely weakened and she was troubled over what to do, her weakness was found. That was her home town. I brought in the East Blue factor because there was that necessity.


-----Then, the starting point of the story is first of all, about Nami's existence.


Oda: Yes. In order to handle Nami as the heroine, what should I do...is what I started thinking from. Up until now I have drawn a number of scenes where they go into fights for their nakama, but after all, when all of them fight together is where the readers get roused up, and the story becomes the most orthodox and the most exciting.


-----Another thing that left an impression on me was that Luffy was about to retreat in order to protect East Blue. I felt the magnitude of East Blue that would make him go that far.


Oda: Around there, I was kind of saved by a scriptwriter. When it was pointed out that if it was Luffy, he'd do something like this, everyone naturally consented like, "Ah, that's true." For readers of the original work and for movie goers, it may feel unexpected, but I thought, to Luffy it must be the obvious action to take. It is probably proof of how spontaneously he is moving in the story.


-----About Kinjishi no Shiki, who appears as this time's enemy, from how long ago did you have the concept of this character? It seems that he is linked to the original work....


Oda: At first, it was really sort of just the name; I only had a faint image. I vaguely thought that Whitebeard and Roger aren't the only legendary pirates, and to leave it indistinct, to not figure it out is my technique. Because if you create that kind of gap, then it becomes an element you can use later. But still, even I didn't think that it'd take shape this quickly. But, since this time's story is directly related, I made good use of my special right to tamper with the main, original story; I think it became a good opportunity for me.


-----The rumor is that Naoto Takenaka, who plays Shiki's part, was Oda-sensei's designation.


Oda: With the director, I gave some serious thought to who we could have do the role. The names of many actors and voice actors were raised, and from those, who could portray the temper of the character that is Shiki. Who can joke around, but also has a cool roar of anger.... In the end, it was discussed that Takenaka-san might be the only one who could do it, and we made the offer. When he actually did it, he fit the part so well, I thought, "This man is a genius."


-----Not only strong and intimidating, Shiki also has a gag-like component, hasn't he become a character that is possible because of the wide range of Takenaka-san's acting.


Oda: In the end, it did get to the point where it was like, "Unless it's Takenaka-san, we can't do it." It shows how developed the character is, or rather that, this role can't be played unless you're very skilled. I visited the after recording22 location, and since I'm very particular about the gag scenes, I was allowed to put in a small request about how to do the timing. Then, with amazing adaptive power, he easy complied. The wideness of his acting ability really did surprise me. Pros are amazing, after all....


-----Earlier, you said "Unless I draw them myself...," in regards to the drawings of the animals, where did the inspiration for their designs come from?


Oda: To start with, the theme of "evolution" was set. The first thing I thought of was the setting of an island that humans rarely enter, with vegetation that quickens evolution, and animals that evolve as they steadily eat it. There are humans who have continuously thought, "I want to fly in the sky" and are on the verge of turning into birds, living there. The animals have been shot with a drug that increases viciousness, so I thought, if a bear then how a bear, if an alligator23 then how an alligator would evolve in order to become even stronger. Putting the strangest form possible in my mind, I drew animals that would be fun to see with your eyes. I wanted to show that this much thought was put into each and every animal to the other staff as well, so I gave all of them names. To show that this one and that one, they are all important characters.


-----Looking at the rough drawings it is certainly true that each and every one has a unique name. Did you give instructions to the animators for the movements of the animals as well?


Oda: I mostly left it up to them, but there are also a number that I gave instructions for. There aren't many recent anime, in which animals appear, and I heard that there are only a few animators that can draw the movements of animals. Since this is a work with a lot of animals, will it be alright in these circumstances...at one time, I became anxious. But Satou-san, the animation director, is an earnest studier, so I think he researched everything for this. They were moving quite admirably.


-----It was interesting how Franky remodeled the animals into bikes.


Oda: In the first rough drawings, I scribbled something like the highlights of each character as image drawings, but I think the time Franky looks the coolest is when he's a biker. As my image, there was the sight of him riding a great Harley-Davidson-like bike, and on top of wanting to draw that, the setting of STRONG WORLD was already determined, so I thought, there's no choice but to turn the animals into bikes. And furthermore, Franky is doing it because he wants to.


-----In Franky's setting, there are many pointlessly (?) funny parts. Like wearing a banana-shaped bazooka on his head....


Oda: You mean the setting where they're relaxing aboard the ship, right? I created that by imaging the spectacle of what everyone is doing onboard. Luffy and Ussop seemed like they'd be playing in the pool, Chopper was also playing with them, but he got out first and changed into a robe. Then, he received some juice from Sanji and is drinking it. When I tried to imagine what Franky was doing in this sort of scene, "constructing a banana-bazooka" came to mind. But the meaning of wearing the "banana-bazooka" on his head, is unknown (laughs). He was probably trying to test something out. And that's when Shiki appears, I suppose.


-----Even those kinds of minute details became involved in creating this anime, but is there a chance for another opportunity like this?


Oda: I 100% decline. I'll never fall for this kind of trap again (laughs). Next time, I'd like to have someone more amazing involved. That's why for ONE PIECE movies from now on, I'm suggesting a pace of once every two years. And of course, I'd like for this work to become the first piece of evidence to prove that if you take the time to carefully work, then something great can be made.


-----This time there was a slightly longer interval from the last work.


Oda: That was because my scenario was late...or more like, I actually quit the first plot I thought up. Cleanly and completely. I changed everything to STRONG WORLD, and at that moment the postponement of the release was decided on. Since there was no way it can make it on time anymore....


-----Then there is a phantom story somewhere out there by Oda-sensei?


Oda: The title is Crystal Voyage Log, and to put it simply, it's a moving story. When I accepted doing the story for the movie, I was painfully aware of the feeling that everyone was expecting something deeply moving from me. So I tried to create something moving and to a certain degree, I succeeded, but somehow it just didn't do it for me. I thought why is that? Right then, I realized that this was the first time I was writing something that I wasn't writing because I wanted to. Normally, the moving stories in the volumes of the original work are born from the natural progression of the characters in the direction of a story I want to write, and I just sum up the production to finish it. And the readers let their tears flow for it. But this time, I created it with the intention of making the viewers cry. I had never made something that artificial before, and I also couldn't be satisfied with that. So, after all, I wanted to make something that I wanted to make. I didn't want to be put in the same group as those movies that just want to get the viewer to cry at any cost, that are so common in the Japanese movie industry these days. That sort of pride as a creator prevailed, and I apologized to the work staff. Even though the writing has progressed, please let me quit. From the setting of the world, I will cleanly fix this, so please wait for me just a little longer. There, the release postponement was decided. After that, I wrote focusing on my duty "for the shonen," and I honestly enjoyed writing it. Now, I think that stopping for a moment there was the right answer.


-----Holding both the positions of magazine serialization and supreme commander of all production must have been difficult, but looking back on your days involved in anime work, is there anything that you feel anew?


Oda: As could be expected, I thought that working in a group is very difficult. But, towards STRONG WORLD, I, once again, felt that it is a work that calls forth amazing miracles. Whether it's MisuChiru, or Konishi-san, or Takenaka-san, as a result of the members who got involved in this, all of the things that I had hoped for went through. Of course, there is also the fact that the producer worked really hard on this too, but still, situations where even if you try really hard, nothing can be done should arise, so the fact that everything went through is really a miracle. And, the reason that although I had to take breaks in the JUMP serialization for this work, the editor-in-chief went as far as to give me his cooperation is that the original work was successfully escalating in excitement, and that excitement is there because the fans are excellently following the story.... It's a miracle that the serialization happened to hit that point of the story with that timing, and I don't think that there'll ever be something like this again; it's not something that you can calculate yourself and do. That's why I wonder just how lucky this movie is. When I watched the finished picture, it has indeed, turned out to be something great, at this point it's pretty frightening. And to the staff who worked on this, I'm also really grateful.


-----This time, the pre-sale specials and things are extravagant, but it seems like doing all the drawings that will used for those, just increases the amount of work you are made to do... (laughs).


Oda: Well for that, I can only curse my own situation, but it's something I volunteered myself for, saying, "I'll do it." I was shown various pre-sale specials that had been prepared beforehand, but when I first checked over the samples, the talk turned to, "Will the customers really want this?" By thinking of the customers' feelings and charging in like that, there was no choice but for me help come up with ideas too.... So I had shops and such checked out, and the things we came up with that could be made comparatively easily and cutely were tin badges and pens. When we had the meeting to figure out how to do their designs, at first we were going to use pictures we already had but...then the discussion turned into, "But wouldn't everyone be happier, after all, if I were to draw new pictures for this?" Even as I was thinking, why would I volunteer myself for this when it's only going to increase my workload again, I started getting the feeling that I had to do everything that I was capable of doing. This is something that can't be stopped, even by me (laughs).


-----In addition to that, this time, you even did the drawings for the comic that would be distributed at no charge as the extra volume or the theater visitor special....


Oda: The manga, I was ordered by the editorial department to write it (laughs). I thought, don't say such an unreasonable thing, but they said they'd give me a week's break for it, so I thought there's no choice but to do it if they were willing to go that far. But then, when it came to that, I started thinking about the feelings of the JUMP readers this time. The readers are not all people who will come to see the movie without fail. So, there was no way that I could write a manga that only the people who watch the movie can enjoy. Then, I thought that I have to write an extra volume that would make all the ONE PIECE fans happy. Because of that, my schedule got even more difficult, but I think that something good came out from it.


-----It seems that extra volume depicts Shiki's past or something similar.


Oda: By writing that extra volume, I get the feeling that even I came to really understand the character of Shiki well. It's kind of strange saying this after the movie was done, but after the plot was finished, I thought to myself again, "So he was that kind of guy, huh." I'm writing Shiki's past, but I'm making sure it's properly continued to the movie, and as an introduction to the character of Shiki, I think the content might be pretty interesting. By writing what the characters, that the fans all know, were doing 20 years ago, I wonder if it was able to become something that can make the fans say that they are pleased. It took time, but my feeling after finishing it is fulfilled.


-----And lastly, please give a message to all the ONE PIECE fans that came to the theater.


Oda: In any case, thank you very much for coming to the theater. Thanks to the anime work staff, something really good was made. If you watched this movie and thought it was interesting, then please, by all means, send a fan letter to the anime staff. Thank you very much!



- 2009 -


Avant tout merci a Greg d'arlong park qui était a la 1er partie de la jump festa hier ou Oda a pas mal parler ce qu'il faut retenir pour 2009 est assez simple, on va rester entierement sur Impel down :D


*En attente d'une trad fr*


Okay, sorry guys, I`m really tired and can`t give a full rundown tonight but I will tell you the big details which are movie 10 and Impel Down. I was in line all day to get decent spots at each of the 4 stages I visited today and there wasn`t even space to squat. It was miserable and I`m beat but I`ll be damned if I don`t regret a moment. I will try to get more pictures/movies tomorrow and then post them in a big mish-mash but onto what you were waiting for.


Movie 10


Oda wrote the whole story. We were shown a trailer that was nearly identical to the one we saw in theaters however the text had been tweaked. It was stating `Only Oda knows THIS story!` and it also didn`t mention the Crystal Ship`s Log. However they seem to have tweaked the trailer and Shiki`s face is visible ever so slightly when he`s chomping the cigar. I`ll draw a shitty sketch from memory if they don`t make it available online in the next 48 hours. We were then shown Oda`s sketches of him. He has long hair that comes down the front of his shoulders. He also has a spike-like object coming out of his head that I can only compare to the spikes on Anima from FFX`s head with a wire? rod? running through them from ventral to dorsal side of his body. His face is actually cartoony to a lesser extent but having a hard time comparing him to anyone from OP. Has a real Disney vibe but definitely Oda`s work. We also have the introduction of a character called Dr. Indigo. Wonder what that`s about. There was a whole plethora of animals. Zebras, sharks, birds. They seem to have a great importance. As Taiar conveyed they seem to be in a group??? of sorts and Nami may join them. So that jives with my observation from the trailer about her going awol. Also some large fortress or location, not really sure, that called in English STRONGWORLD. I thought it was STRONGHOLD but I was busy writing notes and fangasming and a friend to my left caught my mistake.


And Impel Down.


Oda is a humble man. A man who likes pranks and dicking around, but he is a humble man. He had this to say about Impel Down. He is now formulating how he`ll handle the end of this arc in his head right now. That is to say, how to depict it. He has said that each and every page he is constructing for the climax has the potential to be, and I quote, "...epic...", as continuous full-page spreads of one amazing event after another, however, if he wrote things how he wanted to he could never get on to drawing all the amazing islands of the New World that he has planned so in his mind he WANTS to wrap up Impel Down in a year. They were NOT clear as to whether that included the war but I think we`ll see.


Oda`s estimates on time are horrific so it seems we have at least one year of ID ahead of us. No complaints from me. He was coy about the New World and said he has lots of ideas that he cannot wait to put to paper.


I will follow with details regarding specific events later because I missed sending you guys a lot as I was watching and taking notes but those are the big pieces that needed to get out ASAP.


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TB a bien durée 1ans donc bon rien de choquant


Surtout que la y a 33h avant l'execution de ace, si on rajoute l'arrivé de BB et tout. Ca fait de quoi faire quand meme. Au départ je trouvais ca long mais en faite pas tant que ca. ca represente que 4-5 tomes

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Bah ça fait un peu moins de 50 chapitres une année de parution.

Donc quand on regarde comme ça c'est pas si long ^^

Et si Oda peut dire maintenant que l'arc durera un an c'est qu'il a déjà prévu, même en gros, et donc qu'on aura un truc bien lourd qui va claquer, OP quoi !!!!

Je sens que cet arc risque d'être... hors-normes !!!!

Déjà vu comme il est parti... ^^ On va avoir une année de fou sur OP !!!


Sinon j'attends une trad FR moi aussi, j'veux tout comprendre !! ^^



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Une année sur Impel Down?? Cool!!

Franchement, ça ne me gêne pas du tout, c'est même cool puisqu'on aura droit alors à pleins de combats. Vu comme c'est parti avec le retour de Baggy, c'est lui qui va défoncer Oeil de Faucon vu qu'il eput pas être coupé! On aura une année de délire alors et j'espère un retour sur Hancock! Les ennuis commencent pour Luffy et ils vont pas arrêter de tomber surtout dans Impel Down!!!

J'attends une grande traduction faite par des pros! :D

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TB a bien durée 1ans donc bon rien de choquant


Surtout que la y a 33h avant l'execution de ace, si on rajoute l'arrivé de BB et tout. Ca fait de quoi faire quand meme. Au départ je trouvais ca long mais en faite pas tant que ca. ca represente que 4-5 tomes


C'est vrai que vu comme sa,en faite au début 1an je me disai c'est long,mais en regardeant de plus prêt certain arc était plus long Skypia,Ennis Lobby.


Donc oui en faite rien de choquant,j'ai quand même hâte,par contre cela veut-il dire que nos mugiwars on les verras pas pendant un an? :'(

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@ johnny: à mon avis Luffy va pas se battre tout seul ^^ il aura son equipage, je pense que c'est impossible qu'Oda puisse mettre les mugiwara de coté pendant un an^^. Enfin je crois ...


Des arcs comme TB ou Enny Lobbies j'en redemande !!!


Je pensais qu'il fallait minimum 30-40 chapitre pour traiter l'arc,


-Infiltration de Luffy donc retrouver Ace si possible

-arrivée des nakamas

-arrivée des "problèmes"

-arrivée des renforts




Je pense qu'il y aura au moins ça ( dans l'ordre ou pas ) mais OP reste tellement peu prévisible que c'est dur de prévoir.


Ca en fait du chapitre sans compter les complications ^^.


Vivement la trad mais c'est une bonne nouvelle, s'il nous avait dit qu'en 4-5 mois c'était plié ça m'aurai un peu déçu ^^.

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Je tente une trad ? allez oui de toute façon un modo pourra toujours l'effacer quand il y en auras une vraie:


Bon, désolé, les gars, je suis vraiment fatigué et je ne peux pas donner un aperçu complet ce soir mais je vais vous dire les grandes lignes concernant le film 10 et Impel Down.

(je n'ai pas traduit le paragraphe d'après tout d'abord parce que j'aurais pas reussi à le mettre en français et ensuite parce que ça n'as rien a voir avec OP)


Film n°10


Oda a écrit l'histoire en entier. On nous as montré une bande annonce qui était presque identique à celle qu'on avait vu au cinéma mais les dialogues ont été modifiés. On nous a indiqué que «Seul l'auteur connait CETTE histoire» Et elle ne mentionnait pas non plus le "journal du navire de cristal". Cependant, ils semblent avoir modifié la bande annonce et le visage de Shiki est un peu plus visible lorsqu'il mord son cigare je vous dessinerai un croquis vite fait de mémoire, s'il n'est pas disponible en ligne dans les prochaines 48 heures. On nous a ensuite montré les croquis d'Oda. Il a les cheveux longs qui vient sur le devant de ses épaules. Il a également un objet ressemblant à un pic qui sort de sa tête que je ne peux que comparer au pic sur la tête d'Anima de FFX (final fantasy X) avec un fil? un baton? passant à travers lui de devant jusqu'à l'arrière de son corps. Son visage est en fait assez caricatural, mais difficile à comparer à quiconque de OP. Il a une réelle inspiration de Disney, mais reste définitivement du travail d'Oda. Nous avons également eu le droit à la présentation d'un personnage appelé le Dr Indigo.Je me demande qui c'est. Il y avait tout un tas d'animaux. Des zèbres, des requins, des oiseaux. Ils semblent avoir une grande importance. Comme Taiar l'a fait remarquer ils semblent être dans un groupe? Et Nami va sans doute se joindre à eux.

Fin des observation sur le trailer du film 10.

Par ailleurs, il y aurait une grande forteresse ou un lieu je n'en suis pas vraiment sûr, qu'ils ont appelé en anglais STRONGWORLD. J'ai pensé qu'il s'agissait de STRONGHOLD mais j'ai été occupé à écrire des notes et de fantasmer et un ami à ma gauche ma induit en erreur.





Et 2ème Impel Down



Oda est un homme humble. Un homme qui aime les farces et glander mais il est un homme humble. Il avait ceci à dire au sujet de Impel Down:

Il nous dit maintenant la façon dont il conçoit la fin de l'arc selon lui c'est-à-dire, comment il compte le décrire. Il a dit que chaque page qu'il crée pour l'apogée de cet arc a le potentiel d'être, et je cite "...épique...", comme des pages continues pleines d'évènements fantastiques les uns après les autres, toutefois, s'il écrit les choses comme il aurait voulu, il ne pourrait jamais dessiner toutes les étonnantes îles du Nouveau Monde qu'il avait prévues, donc dans ses prévisions il VEUT englober/boucler Impel Down en un an. Ils n'ont pas été clairs quant à savoir si il comptait la guerre dedans mais je pense que nous verrons.




Les estimations d'Oda sur la durée son terribles, il semble que nous avons au moins une année sur ID devant nous

Je ne me plains pas. Il a été réservé/évasif sur le Nouveau Monde et a dit qu'il avait beaucoup d'idées qu'il s'impatiente de mettre sur le papier.




Je continuerai avec des détails sur des événements spécifiques plus tard, car je ne vous ai pas tout raconter puisque je regardais et prenais des notes, mais ce ne sont que les grandes lignes que j'avais besoin de partager aussi vite que possible




Voila (PS la première personne dans le texte est le spoiler sauf quand c'est entre parenthèse c'est moi qui parler)



Bonne lecture en espérant avoir pas écrit trop de bêtises.


edit kecha: juste quelques modifications

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:o Une année sur Impel Down

C'est vrai que quand on lit une année ça parait long (une année normale), mais pour un manga, à raison de un chapitre par semaine (plus absence de chapitre quelques semaines) ça se tient.

Ca va etre énorme


Maintenant je me pose une question, est ce que cette année sur ID concerne :

- faire une arc sur ID mais sans pour autant rester l'année entière sur place

- rester sur impel donw lui meme,


Je m'explique

Par exemple dans "l'arc précedent" (si on peut dire puisque tout se rejoint finalement) on a vu Luffy sur l'ille des Amazones, les mugi là ou ils sont ..... mais finalement tout cella concernait l'arc lui meme (meme si on a vu d'autres endroits)

Ou est ce qu'on va rester que sur la prison, sans voir rien d'autre.


Mais je prèfere de loin à la première hypotèse, car de une ne pas voir les mugi pendant un an, je pense cella inimaginable, et en plus ce serait encore plus fort, explosif, magnifique, énorme, .... et que sais-je encore, que de voir que la prison


En tous cas, avec Oda, on peut s'attendre à aller de surprise en surprise, ça c'est vrai, donc plus qu'à attendre et apprécier

Je veut etre fin 2009 maintenant  :D

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1 ans sa fait quant même long, qu'est ce qui va bien pouvoir ce passé dans cette prison ??

En parallèle y aura surement la guerre de BB Vs Marine, mais quant même descendre 5 étages sa doit pas être si dur :P


Mais bon sachant que dans Bleach le début de la guerre entre SS et Aizen à débuté début Mars, Flash Back comprit (soit environt 10 mois) franchement sa passe vite, surtout que les chapitres de One piece son toujours très riche, grâce a son auteur Mr.Oda The best Mangaka !


Alors vivement 2009  ;D

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1 an, soit 12 mois, soit 48 semaines, soit (sans detail, en generalisant) 48 chaps, environ 5 tomes... ^^' C'est peu finalement. Mais amplement suffisant pour faire progresser les mugiwaras, les faires rejoindre luffy, les faires combattre, recuperer se qu'ils cherchent... Et ainsi les faires rentrer dans un monde de fou en etant eux memes trés fort et en ayant une notoriété digne de se nom...

Quelle "réflexivité" dans se manga, bien structurer, allant toujours dans le bon sens et pouvant créer une suite de l'histoire toujours plus poignante.

Merci pour la trad

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Je viens rajouter mon grain de sel  après relecture , il est dit qu'il faudra compter AU MOINS un an de impel down , et a mon avis ça inclus la guerre , donc l'ile des hommes poissons , le vieux et le bateau on est pas prêt de les revoir ^^"Donc , et a mon avis ça dureras beaucoups plus qu'un an , genre 15/16 mois , voir plus , pour Oda 1 an c'est le minimum , mais je pense que si Oda n'avais aucun éditeur derriere lui a le restreindre , on serais encore a enies lobby en train de tapper du CP9 et le manga durerais assez longtemps pour que nous puissions encore lire one piece à l'âge de la retraite lol. Enfin je prend les paris ; one piece fera dans les 150 tomes :)


Excepté ça , je pense qu'on aura un mix de enies lobby et de shanbondy , ça risque d'être l'orgie" chaque semaine , déjà que le prochain chapitre risque d'être monstrueux , ah la la , j'ai bien fait de m'offrir 43 tomes de one piece pour noel =)


Sinon , j'ai beaucoup aimé les remarques sur Oda : " Oda est un homme humble. Un homme qui aime les farces et glander mais il est un homme humble" , ça m'a bien fait marré , comme quoi dieu est lui aussi un glandeur  ;)


Le film 10 , mouais , enfin , Oda s'est collé au scenar , ça risque d'être tip top, mais avec une réserve , un film est un film :)

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Oda annonce la couleur assez vite : un an sur Impel Down :D


C'est vrai que vu comme ca a été présenté dans les tous derniers chapitres, il a tellement de monde, surtout des pirates avec de très grosses primes que ca mérite au moins d'y passer 35 chapitres dessus, voire plus d'une année. Entre Luffy et son plan de sauvetage d'Ace, les capitaines corsaires qui ne sont pas trop loin, Barbe Blanche qui vient aussi secourir son nakama, et les autres prisonniers avec une grosse prime enfermés dans la prison (Jinbei, Crocodile, ceux qui ont été capturé sur Shabondy), plus d'autres peut etre qui pourraient les aider comme Buggy, ca fait du peuple. De gros combats en perspectives et un bordel monstrueux chaque semaine en prévision dans la grosse prison ;D


Espérons que 2009 soit une aussi bonne année de 2008 pour One Piece et pour Oda (qui était déjà presque excellente en elle même ^^), voire mieux si possible ;).

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Et b'hein, trop marrant Oda sur la vidéo ! xD

Sinon, je pense aussi que quand il parle d'Impel Down, ça englobe, le devenir d'Ace, la guerre, l'arrivée des Nakamas etc...

Il peut rester dans le même décor avec juste Luffy et Buggy pendant un an...après, c'est le manga le plus imprévisible donc on verra bien ! ^^

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L'histoire se passe pendant un an a Impel Down ,mais c'est pas pour autant qu'une année se passe réellement a implel down.

Mais peut etre seulement plusieurs jours voir semaines (ou meme seulement sur une seule journée ,super grande je vous l'accorde ,mais vu qu'il y a quand meme 33h avant l'éxécution de ace donc déja minimum 2jours).

Donc luffy ne serait pas séparait de son équipage vraiment pendant un an au niveau du scénario, car ça me parait peu probable qu'Oda éloigne luffy de ses compagnons une année entiere.

Mais c'est vrai qu'avec Lui il faut s'attendre a tout  ;D,

On verra bien...

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ça me fait peur un peut, histoire Impel Down pour une année, car plus on étal histoire sur un endroit, ça devient répétitif, même déco ou environnement, donc à la longue on commence pagayer sur place. Mais bon Oda c'est toujours rendre les choses interessant.

Il a fait 3 jours en 1 chapitre puis 33h en 35 chapitres woow, ça va faire un peut long, mais bon après Wather Seven et le CP9 presque 70 chapitre je lui fait confiance …


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ça me fait peur un peut, histoire Impel Down pour une année, car plus on étal histoire sur un endroit, ça devient répétitif, même déco ou environnement, donc à la longue on commence pagayer sur place. Mais bon Oda c'est toujours rendre les choses interessant.

Il a fait 3 jours en 1 chapitre puis 33h en 35 chapitres woow, ça va faire un peut long, mais bon après Wather Seven et le CP9 presque 70 chapitre je lui fait confiance …



Même si Impel Down s'étale sur 1an, je vois pas pourquoi cela serait repétitif, avec les meme deco et environnement, nos Mugiwara's etant tous dispatché sur une île differente a l'heure actuel, le temps qu'ils rejoignent luffy a impel down, on en verra des choses.


De plus, et jusqu'a maintenant, Oda ne m'a jamais déçu, et je vois pas comment il pourrait me decevoir en voyant comment se déroule les chapîtres actuels !

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OMG !!!

Un an d'Impel Down...

contrairement à Naruto, One Piece semble avoir de beaux et long jours devant lui...balèze quand même, un an, c'est pas l'arc Shabondy là xD

En tout cas, toutes les pages de l'apogée de l'arc peuvent être "épiques"

ça promet !!

Bon bah au moins, de ce coté là, on est tranquille, un arc de folie nous attends ^^

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Oda est vraiment plus qu'un génie là.

On a un an sur Impel Down je pense pas que ça va prendre les 33 heures mais je pense que c'est possible.

En tout cas on est sûr d'une chose One Piece a de beux et longs jours devant lui comme le dit вℓαує∂'.

En tout cas on risque d'avoir droit à des combats épiques.

Superbe tout simplement superbe ce Oda, je le respecte de plus en plus à chaque chapitre.

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Un an d'IP c'est monstrueusement long! mais....

50 chap d'IP c'est monstrueusement normale, rien de spécial quoi, un peut comme chaque arcs, thriller bark a duré un peu plus d'un an si ma mémoire est bon.... sans parler d'Arabasta ou EniesLobby... donc de ce coté RAS.


Par contre dire que l'apogée de cette histoire a le potentiel d'être épique, ben ça à de quoi me faire baver sur mon clavier, déjà que jusqu'à maintenant c'était exceptionnel, on va passer au stade "épique"!!! truc de fou!! 

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