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Makaveli D. Panther

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De rien Erinyes. :)

 

Et il y a makyun qui se tâte à traduire : http://makyun.tumblr.com/ (merci à Papy de me l'avoir remarqué)

 

Ishida: I took a close look at pages with Hisoka and marked his appearances with a tab and took note of the card symbols he used and-

 

Togashi: I sort of did that on a whim.

 

Ishida: So wait it wasn’t really decided?

 

Togashi: Not really.

 

Ishida: Okay but listen here, I think that–

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Il nous manque la 3eme capacité d'Hisoka en Hatsu soit celle du renforcement. Je ne pense pas que ce soit un simple Ko mais plus une protection a la Gaara en Gum. Si Hisoka retourne la situation, il y aura un match nul vu l'etat des 2 combattants...

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Une traduction en anglais est tombée (merci Papy) : http://chiggix.tumblr.com/post/145336753292/冨樫義博-石田スイ-特別対談-少年ジャンプ

 

冨樫義博×石田スイ 特別対談 - 少年ジャンプ+ →

Togashi Yoshihiro (Hunter x Hunter) X Ishida Sui (Tokyo Ghoul) Special Talk & Release of Ishida Sui’s Treasured Hisoka Storyboard!

 

The first talk between Hunter x Hunter’s Togashi Yoshihiro and Tokyo Ghoul’s Ishida Sui is released through “Shounen Jump +”! And Ishida Sui has drawn a story about Hisoka…?! First have a look at this epic discussion!

 

(Translation of the talk under the cut: )

 

(PS Please let me know if you want me to translate the comic, too)

 

— First, let me outline how Ishida Sui came to visit Togashi at his workplace and speak with him.

 

Togashi Yoshihiro (hereafter To): Yes.

 

— Formerly, Ishida’s “Tokyo Ghoul JACK” was being serialized in “Shounen Jump+”’s predecessor “Shounen Jump LIVE”. Since it had such a good response, Ishida was asked if he would be kind enough to draw another manga for “Shounen Jump +”.

 

While discussing this, it came up that Ishida is a huge fan of Togashi’s works, and is especially fond of Hisoka. The editors were very curious about how a manga about Hisoka drawn by Ishida would turn out, and so this all began from there.

 

But what would Togashi think of such a proposal? Last year, we confirmed his opinion through his editor. He replied that he had no problem with it, and he was happy to receive the request.

 

Hearing that, Ishida, wanting to cherish the existing worldview of the series, expressed that if Togashi had any ideas about Hisoka’s past or setting, he would like to hear about them first and expand his story from there. Togashi, however, asked Ishida to please “draw Hisoka freely as you imagine him.” As a result, Ishida wound up having to endure more enthusiasm from the editors, but since Togashi was kind enough to oblige him… And so he began work on this project alongside his serialization.

 

And now, Ishida, with the finished storyboard, is visiting Togashi’s workplace once again.

 

Ishida Sui (hereafter Ishi): I’ve made you wait quite a while since we began talking about this, until I could show you the finished storyboard.

 

To: No, no. You were also drawing your regular comic, so it couldn’t be helped. I’ve read the story, and it was really good. I didn’t think it was going to be this long, so I was very surprised.

 

Ishi: Since this project began I’ve had this storyboard in my head constantly, but internally the bar kept getting higher… Because I was going to show it to Togashi-sensei, whom I greatly respect, I didn’t want to show him anything poorly done, and I wanted to construct my own worldview within “Hunter x Hunter”, and so many other things I kept overthinking - it really hindered my progress (laugh). I spent a whole year that way, taking two steps forward and one step back.

 

To: Since “Hunter x Hunter” is the kind of work which, to a certain degree, can accommodate any worldview, I really wouldn’t mind if you had just freely created a setting. About the manuscript, though - this is drawn in a lot of detail. It’s not like an under drawing or a rough.

 

Ishi: Yes, I don’t normally draw this much…

 

— This is a story about Hisoka, but is Hisoka really your favourite character in “Hunter x Hunter”?

 

Ishi: That’s right. When I was in junior high school, the first manga I copied was of Hisoka. It was the scene where Hisoka is letting down his hair after a bath, after he has a battle in Heaven’s Arena. It was so cool I just had to draw it (laugh).

 

To: It’s true, I also like when a character with swept back hair lets it down. That scene was influenced by the main character in “Shounan Bakusouzoku”, who normally has a pompadour. He was so cool when he let his hair down, I decided I had to put it in my manga. “Yuu Yuu Hakusho”’s Yuusuke is the same.

 

— Chrollo from “Hunter x Hunter” also has a scene like that, doesn’t he?

 

To: Out of the characters in “Tokyo Ghoul”, I like Juuzou the best. I like Hisoka too, and they’re kind of similar. They’re a bit crazy - like how they enjoy hurting themselves. I’ll keep hurting him nicely in “Hunter x Hunter”, as well (laugh).

 

Ishi: I’m looking forward to it (laugh). Since starting on this storyboard, I’ve drawn drafts I didn’t end up liking, even stuff I drew and immediately after thought “This is no good.” And in the midst of all that I lost sight of what was fun about it. I was taking it too seriously, I think. I even told my editor “If this keeps up I might not be able to make comics anymore.” And they said something like “To hear Ishida-sensei say that after coming into contact with Togashi-sensei’s talent makes me happy”. I was like “What are you saying when I’m this upset?” (laugh). I think my editor appreciates me, but I really felt like I had no allies.

 

— That’s just your editor’s love, probably (laugh).

 

To: It’s true - the scariest state for a mangaka is when you can’t remember why it’s fun.

 

Ishi: It really is. It felt like I was in a fog. I even started thinking it wasn’t good for me as a mangaka to be making a derivative work out of Togashi-sensei’s story. I really was overthinking.

 

— When you were thinking about the storyboard, you read over “Hunter x Hunter” a lot, didn’t you?

 

Ishi: I did. I marked all the pages Hisoka appears in, I tried to figure out a pattern in the suit marks in his lines…

 

To: I’m just choosing those by intuition (laugh).

 

Ishi: You don’t have any rules?

 

To: Not really. Just that Hisoka uses a heart with people he likes. I don’t have any idea how diamond and clover are different.

 

Ishi: When I analysed it, I thought “Diamond” was often used when Hisoka is being serious. “Clover” gets used more when he is thinking something over.

 

To: Since I’m choosing with my intuition, it’s possible that I’m unconsciously creating those patterns.

 

Ishi: Hisoka is a really mysterious character, so drawing him is really difficult. I was looking for hints in places like that.

 

To: How much you can bring out his whimsy is very important. When I want him to do something the most is when he is least likely to move for me. It’s easier to just step back and not think about anything - then he will move on his own. It’s the same way right now in the main story - I just create the surroundings, environment, battle set-ups, and leave Hisoka’s movements up to Hisoka. Then his character will burst out for me.

 

Ishi: You’re right, I can see him bursting out just with my imagination (laugh).

 

To: But I kind of put on the brakes.

 

Ishi: Oh, you did?

 

To: Hisoka wanted to do more, but there were some places where I put on the brakes inside myself. I regret that a little bit.

 

— Togashi-sensei, when writing your manga, are there times when you can’t control your characters?

 

To: I think manga is more interesting when the characters aren’t under control. When I write manga, I first think of a rough outline. But when I actually write the characters, sometimes they say things that are completely different from the storyline I thought of. But I think “This line really fits them!”, and then I have to give up on the original story. But I think it’s much more interesting when that happens.

 

— Togashi-sensei, what impression do you have after reading Ishida-sensei’s storyboard?

 

To: At the end, Hisoka uses Dokkiri Texture to transmute a handkerchief and hide the villain’s face, but I had actually thought of using this technique later on in the main story. So I thought Ishida-san had a good sense for using Nen.

 

It’s really interesting when different people have the same thought.

 

Also, I thought Ishida-san’s villain was well done. Not just this character, but everyone Ishida-san draws has good atmosphere. I think you get a sense of what manga he has read, and what kinds of pictures he likes, but even his stern old men have a beauty to them. This isn’t something you can achieve through hard work alone. His battle scenes also have a sense of speed which is pretty cool.

 

Ishi: Thank you…..

 

To: At the beginning there’s a scene where Hisoka is lying on the ground - did you leave the reason ambiguous on purpose?

 

Ishi: Yes. I specifically decided not to draw the background for the first scene.

 

To: That really makes the readers think.

 

Ishi: Among the discarded drafts, I had ones which talked about Hisoka’s childhood environment - some where he was from a rich family and some where he was poor. But I felt really uneasy about that. Hisoka is the kind of character who doesn’t talk about his past - I felt like as soon as you bring that in, he stops being Hisoka.

 

To: That’s true. Digging into a character’s past is difficult. It’s like, no matter what story you tell, it won’t surpass the readers’ imagination. Rather than making it clear, it’s more fascinating to leave some things unknown. In Ishida-san’s storyboard, it’s fun to imagine why Hisoka is lying on the ground. I’m very glad that you wrote him like this.

 

Ishi: Togashi-sensei, do you have an idea of Hisoka’s past?

 

To: I don’t. That’s why I tried not to think about it. But now I’m thinking I might one day be alright writing about a time in his past just a little before Ishida-san’s manga. Deciding how far back to go is difficult, though.

 

Ishi: I’m very interested in that.

 

To: I think my mental age has stopped somewhere between the second year of junior high school and the second year of high school (laugh) [A/N: American system 8th-11th grade]. I think I’d like to write about Hisoka around that age. If I wrote something set any earlier, I’d have to talk about what kind of family he came from, what his parents were like - I think that’d be explaining a little too much.

 

Ishi: This is just my own idea…. But I can’t really imagine Hisoka having a father. He doesn’t seem to have any influence from a father.

 

To: In the manga I’ve written so far, all the characters including protagonists have various family situations - many of them have single parents. Even though both of my own parents are still alive and well, and my family situation is pretty typical (laugh). But when I write manga it just comes out that way, especially main characters, or people I think I will have to draw for a long time. Of course, I think parents are just in the way when it comes to a manga story.

 

Ishi: That’s true, I’ve also had times when I thought parents were in the way in a story. In “Star Wars” the adults who raised the main character get killed right away, and in “Gundam” the story starts when the parents die and the protagonist must leave them. I’ve had the vague idea for a long time that there’s a kind of theory when writing a story that it’s better if the parents are gone.

 

To: Yes. That’s because the parents in a story are only there to oppose what the protagonist does. For example Gon in “Hunter x Hunter” would be in the upper grades of elementary school in the real world. If he had good parents, they’d never let him go on such a dangerous journey. When you think about it like that, parents really are in the way (laugh). So I thought it’d be better if he didn’t have parents to begin with. Eventually that became a story about searching for his parent, and then I decided on the concept of making his parent a really awful person.

 

Ishi: I see….!

 

To: By the way, after reading Ishida-san’s manga, I thought I would like to write a manga about Hisoka’s past connecting to that first scene. I don’t know when that would happen, though (laugh).

 

Ishi: ……. !

 

— That’s… quite an idea!

 

To: After reading it, I really felt like connecting something to that opening. If Ishida-san really has no idea what happened before Hisoka was lying on the ground, and if it’d be alright if I did whatever I wanted with it, I’d think I’d like to draw it. Also, I think I’d like to play around with the circus troupe as well.

 

Ishi: I was worried about even making this storyboard, so to have Sensei speak that way about it…. I’m honoured, I’m really happy…..

 

To: Don’t expect too much (laugh). If I ever draw it I’ll show it to you.

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C'était intéressant à lire, l'admiration envers Togashi est plaisante.

J'ai hâte de lire ce spin off.  ;D

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Un résumé du Jump Ryu #21 consacré à HxH de Sandman d'Arlongpark

 

[spoiler=Couverture Jump Ryu #21]ZQC2og0.jpg

 

 

[before becoming mangaka]

 

- Togashi's parents managed a company which sold papers, painting tools, stationery and manga magazines. His father's hobby was drawing.

 

- When Togashi was aroud 6 years old, he used to draw many of his original heroes and monsters.

When he was around 8 years old, he was inspired by one of his friends whose hobby is drawing manga. They showed their mangas with each other.

 

- When Togashi was in junior high school, he was fully attracted by some Shoujo mangas whose essential was Shounen manga-ish such as Mineo Maya's manga.

 

- Since then, he started reading "Urusei Yatsura" and learned how to attract female audience.

Togashi thought he was suitable for Shoujo manga although his favorite manga genre was Shounen manga.

 

- Togashi was going to become a junior high school art teacher, but gave up right after he started his internship.

This was because he was afraid that his own words might influence students directly.

 

- The reason Togashi was going to become a teacher was that he thought he would not be able to work in the same way as normal adults did.

Shaving and wearing a business suit every day is what Togashi considered impossible for him. He was afraid of living a life outside school.

After he gave up working as a teacher, he had no choice but to work as mangaka.

 

- In 1986, Togashi's hype was skyrocketing when he was selected as one of the finalists in a famous manga audition, Hop Step Award.

 

- When he was a college student, his editor said to him, "Even if you ends up not being able to succeed as mangaka, you have an alternative choice to live as a teacher".

After this statement, Togashi gets more serious in drawing manga and dropped out of a college. Then he moved to Tokyo aroud 1989.

 

- When moving, he suffered a trouble about his household good not arriving his house for a week. Togashi had no choice but to sleep on the floor.

 

- He couldn't afford to buy a single desk, so he used a drawer as desk when drawing manga. Togashi said it was painful since his legs couldn't put under the drawer. lol

 

- Togashi was about to run out of his bank deposit. He felt really relieved to hear that Shueisha decied to make a serialization of his manga.

 

[After becoming professional mangaka]

 

- The first manga serialization for him was Ten de Showaru Cupid ("An Ill-tempered Cupid in Heaven"). It became pretty famous, but it finished earlier than expected (chapter 32).

Togashi now regrets that he should have prepared a rough plot till the finale before serialization.

 

- 2-3 months after finishing his first serialization, new ideas for next manga came to his mind one after another. Then He started Yu Yu Hakusho soon.

 

- Togashi dsecided to focus on the occult and battle in Yu Yu Hakusho since both of them were his favorite genres.

 

- Editor told him that Toagshi is good at creating a story. Togashi was glad to hear that, but at the same time,

he thought it wasn't enough in order to maintain great popularity for more than 30 chapters. That's why Yu Yu Hakusho turned into battle manga and made a great success.

 

- Editors in Shueisha consider it is one of the greatest role models to turn a manga which ends in each single story into battle manga.

The role model for Togashi was "Kinnikuman" ("Muscle Man"). It started as comedy manga and then turned into battle manga, which

Togashi believes can entertain shounen in terms of both surprise and excitement.

 

- One year after he finished Yu Yu Hakusho in 1994, Togashi suggested his editor that he would like to draw manga that would NOT become much popular.

This is because he wanted to show various aspects of his personality as mangaka to his audience.

Togashi believed he had already drawn traditonl Shounen manga to the best of his ability in Yu Yu Hakusho.

 

- Togashi also told his editor that he would start traditional manga again after he finished "Level E". Editor accepted it.

 

- In "Level E", Togashi was going to finish stories in each chapter, but Prince Baka (stupid prince) became popular as opposed to his expectations.

Thus, he decided to make Prince Baka the protagonist of Level E. The prince had complicated personality which always went beyond everyone's imagination, so Togashi had difficulty in creating a story.

 

- Having finished Level E, Togashi started Hunter Hunter. He keeps in mind that he should change his style in each arc so that his audience can be surprised.

 

- Togashi considers character's personality is sometimes important than story. The ending of Chimera Ant arc was not what he expected at first.

He makes a simulation about how his characters will talk with each other and take an action in specified situations, which allows his audience to feel as if his characters really exist.

 

- Togashi loves professional slang. For example, his characters call "turn over" when they search on Internet.

Also, he shows detailed concept of Nen as if it exists as some kind of martial arts in real world.

 

- Togashi tends to show some rules to his audience at first such as Greed Island arc.

He enjoys the process finding system bugs or shortcuts in the rules to go beyond expectations of audience.

 

- In Chimera Ant arc, Togashi enjoyed making a super long list as to how his characters would take actions since 10 days before invasion in Royal Palace.

He wanted to draw characters in desperate situations taking an unexpected action when they came across someone accidentally.

Editor gives exmaples such as encounters between Morel and Shaiapouf/ Killua and Meleoron.

 

- Togashi has been attracted by dirty side rather than beautiful side ever since he was a junior high school student.

Editor considers Mukuro in Yu Yu Hakusho is one of the typical examples.

 

- About drawing style, Togashi decided to draw Yu Yu Hakusho impressively and Level E realistically.

In Hunter Hunter, he keeps in mind that he should not use screentones as possible as he can.

 

- Togashi doesn't speciy detailed personality of boss characters from the beginning. For example, Toguro in Yu Yu Hakusho was just a bodyguard at first, but

his personality gradually became more attractive as his grudge against Genkai was revealed.

About boss characters' appearances, he enjoys making them complicated since boss characters don't make much appearances.

 

- While Togashi is drawing manga, he listens to TV show ad enjoy talking about it with his assistants.

 

- Togashi considers himself not being good at drawing color spreads.

 

-Togashi memorise facial expressions ot characters in other mangas. One of his favorite book is "Facial Expressions" written by Mark Simon.

 

- There are 5 assistants in his studio.

 

- Togashi think of Akira Toriyama as a god. He has Dragon Ball 30th book.

 

- On Togashi's desk, there is some manuscripts of a fight betweemn Hisoka and Kastro which he considers as bad quality.

He pays attention in order not to repeat the same error. Togashi also says that people on internet fandom were embarrassed with the chapter at that time. lol

 

- The previous editor says, "Togashi-sensei is very gentle. He remembers what editors said in the past and sometimes bothered to be worried about us."

 

- Editor thinks Togashi resembles Gin Freecss in terms of personality.

 

- An editor says he was scolded by Togashi only once when he changed words in manga a bit without permission.

 

- Togashi sticks to every single word in manga. He even doens't want to use various fonts since he is always confident of his words themselves being interesting.

 

- Togashi's message to manga beginners:

 

"Keep in mind about audience.

Make every effort to go beyond their expectations".

 

 

end of summary

 

Source : http://apforums.net/showthread.php?t=28240&page=678&p=3716475&viewfull=1#post3716475

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2 Dessins de togashi pour l’album Watashi ga Nakô Hototogisu de Jun Togawa with Vampillia

 

C1GMdFZVEAAHMxt.jpg

 

C1GMdKlVQAAdcBx.jpg

 

Source :

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Source et traduction : Heiji 

 

Citation

 

Comme nous vous l’avons annoncé hier, c’est aujourd’hui qu’est sorti l’essai-manga Sensei Hakusho de Kunio AJINO, un ancien assistant de Yoshihiro TOGASHI, qui révèle moult détails sur sa collaboration avec le mangaka de YuYu Hakusho, Level E et Hunter x Hunter.

 

  • Après l’avoir acheté et lu, voici un petit condensé de diverses anecdotes révélées sur maître Yoshihiro TOGASHI :
  • Le premier mangaka avec qui a travaillé Kunio AJINO, comme assistant, c’est Yoshihiro TOGASHI ;
  • Leur première rencontre remonte à la fin de l’année 1990, AJINO avait alors 21 ans et TOGASHI 24 ;
  • AJINO est le premier assistant que l’auteur a engagé pour travailler sur YuYu Hakusho ;
  • Dans son premier appartement, le bureau de Yoshihiro TOGASHI était dans la cuisine, ceux des assistants dans le salon ;
  • Le mangaka apprend à ses assistants plein de petits trucs pour dessiner, par exemple à bien découper les trames ;
  • Quand des assistants faisaient des petites erreurs dans les paysages, TOGASHI leur pardonnait et laissait tel quel la plupart du temps ;
  • Au début de la pré-publication de YuYu Hakusho, l’auteur n’avait que deux assistants : AJINO et un certain ÔMORI ;
  • Yoshihiro TOGASHI fume. Concernant les repas des assistants et le sien, il donnait sa carte bancaire à Kunio AJINO et ce dernier allait acheter des bentô à la supérette. Il prenait aussi parfois des onigiri et du café. Le dessinateur demandait aussi parfois à AJINO d’acheter du matériel pour dessiner ;
  • Quand il avait mal aux cotes, il arrivait que l’auteur dessine par terre en étant allongé ;
  • A la base YuYu Hakusho devait avoir comme titre Yûyûki mais comme le mangaChinyûki de MANGATARÔ allait débuter dans le magazine, on a demandé à l’auteur de changer de titre ;
  • Le premier éditeur (tantô) de l’auteur l’appelait TOGASHI-kun et non TOGASHI-sensei ;
  • Lors de l’annonce de l’adaptation en anime de YuYu Hakusho, l’auteur a eu une réaction normale, pas d’excès de joie ;
  • Un jour, après avoir vu un épisode de YuYu Hakusho, AJINO a annoncé à TOGASHI qu’il y avait des différences avec le manga. Ce dernier lui a répondu que c’était normal car c’était deux médias différents ;
  • Le premier déménagement de l’auteur à eu lieu en avril 1992 au moment de la sortie du sixième tome de YuYu Hakusho ;
  • Le nouvel atelier de l’auteur se trouvait dans un genre d’immeuble où on pouvait retrouver d’autres pièces où se déroulait divers cours (comme de l’ikebana) ;
  • Dans l’atelier il y avait 4 bureaux (celui de l’auteur et ceux des assistants), 2 lits superposés, une photocopieuse et une télé ;
  • Le petit frère de TOGASHI est aussi mangaka mais dans le milieu X. Il a aussi parfois aidé son grand-frère ;
  • Le salaire des assistants était payé en cash à la fin de chaque semaine. Ils avaient droit à un bonus chaque été et chaque hiver ;
  • Dans son atelier, l’auteur avait des poissons tropicaux mais aussi un petit serpent ;
  • TOGASHI a rencontré une fois Osamu TEZUKA, ce dernier lui aurait dit : « Dessine des mangas qui donneront du rêve aux enfants » ;
  • Durant la pré-publication de YuYu Hakusho, il y a eu des moments ou l’auteur était vraiment fatigué et avait du mal et les assistants avaient plus de choses à faire mais l’humeur de l’auteur n’a jamais changé. Malgré ça, il était toujours le même. Un jour son éditeur lui a demandé si il ne voulait pas laisser l’encrage des personnages à ses assistants. TOGASHI lui à répondu que si il faisait cela,  il était fini en tant que mangaka ;
  • Pendant un certain temps, il y avait une table pour jouer au mahjong dans l’atelier ;
  • En plus du mahjong, l’auteur et ses assistants jouaient aussi aux jeu vidéos, en particulier à Mario Kart sur Super Nintendo ;
  • Le deuxième déménagement de l’auteur à eu lieu en octobre 1993 au moment de la sortie du 15ème tome de YuYu Hakusho. A cette époque, en plus de AJINO et ÔMORI, il y avait un troisième assistant : NABESHIMA ;
  • Le nouvel atelier de l’auteur se situait dans le quartier de Shimo Kitazawa. Ce n’était plus une pièce dans un immeuble mais carrément une maison. Au rez-de-chaussée il y avait la cuisine et la salle de bain, au premier étage 2 pièces (une avec les 4 bureaux de l’auteur et de ses assistants et une avec les futons) et au deuxième il y avait la chambre à coucher de l’auteur ;
  • Quand l’auteur a annoncé la fin de YuYu Hakusho aux 3 assistants, ceux-ci étaient choqués, c’était si soudain, mais l’auteur a rajouté qu’il restait quand même six mois avant la conclusion du manga ;
  • Les assistants demandaient de temps en temps à l’auteur de lire leurs travaux afin que ce dernier leur donne des conseils ;
  • Après avoir terminé le dernier chapitre de YuYu Hakusho, l’auteur était heureux. Il n’y a pas eu de fête ou autre truc du genre, TOGASHI et ses assistants ont comme d’habitude mangé ensemble tout en jouant aux jeu vidéos ;
  • Les assistants ont reçu un bonus en plus de leur denier salaire pour leur travail sur YuYu Hakusho ;
  • Yoshihiro TOGASHI a travaillé seul sur les deux premiers chapitres du manga Level E(la série était publiée de façon mensuelle) mais ensuite il a engagé de nouveau AJINO et ÔMORI ;
  • A la base le « E » dans Level E était pour Erian (エイリアン) la façon Japonaise de dire alien, mais comme en anglais ça commence par un A et non un E, ce « E » est devenu le « E » de ET finalement ;
  • Entre l’élaboration de Level E et le début de la pré-publication la série, l’éditeur de l’auteur a changé. TOGASHI ne s’entendait pas trop bien avec le deuxième. A la base, il voulait faire une série omnibus (chaque chapitre racontant une histoire différente) mais dans le Weekly Shônen Jump il faut qu’il y ait un « héros » qu’on retrouve à chaque chapitre, l’auteur a donc du changer ses plans de départ ;
  • AJINO demandait souvent à l’auteur une petite signature et un dessin dans ses volumes de YuYu Hakusho. Pour le dernier volume de la série, TOGASHI a dessiné le personnage de Kenshin Himura (juste avant il avait reçu, par erreur, une lettre de fan destiné à l’auteur de Kenshin) ;
  • Yoshihiro TOGASHI aimerait bien travailler sans assistants mais comme il y a des dates de rendu, il sait que c’est impossible ;
  • Un jour TOGASHI à lancé une partie de Resident Evil sur PlayStation et a terminé le jeu en trois heures, ensuite il a repris le travail ;
  • Après avoir terminé le dernier chapitre de Level E, l’auteur et ses deux assistants sont allés chercher des bentô à la supérette. Ensuite, TOGASHI les a raccompagnés jusqu’à à la gare et les a quittés juste en leur disant : « Moi je vais par là » ;
  • En 1998, la pré-publication de Hunter x Hunter a débuté. AJINO, qui travaillant comme assistant avec un autre mangaka, n’a pas été appelé par TOGASHI. Un jour, ce mangaka a dit à AJINO qu’il avait croisé TOGASHI à une soirée mais qu’il n’avait pas parlé de lui car il avait eu peur que ce dernier le rappelle ;
  • Enfin, Kunio AJINO avoue qu’il aurait bien aimé retravailler avec Yoshihiro TOGASHI.

 

Modifié par Mµû
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