#obata interviews

[13eyond13]

Do you know where the post about death note fans over analyzing the story more than the authors did went? I've been searching for hours pls help

You probably mean this post? https://13eyond13.tumblr.com/post/174189697553/ohba-obata-calling-each-and-every-member-of-the

[43501]

Do you have any headcanons about what L would be like in a romance? Your vision of Near literally blessed me and I hope you can do L justice, since in the media people see him as not caring about a potential partner and that leaves me disappointed :(

I'm absolutely thrilled and charmed you've liked what I've spun about Near, I'm devastated to admit I don't think I can do L justice to this degree… he's wonderful, but I'm not an L scholar who can write (stops writing this reply to check how much I've written on Near) 10,000~ words worth of ardent meta about him… but I'll talk a bit about him and write out the headcanons I do have.

Scrutinizing everything Ohba and Obata say about L in all of their interviews, it's clear to me they originally envisioned L as a bit heartless. But all Death Note media since - the anime, the films, the Change the WorLd novel, the J-Drama, the DS games, the musical - all favor an interpretation of L that's more compassionate and human. I have a crackpot theory that fan reception and Alessandro Juliani's (award-winning, I remind you) performance in the English dub influenced this shift, in a similar way to how a couple of Japanese videogames around that time got re-released in Japan with script changes influenced by English localizations (such as Treehouse's localizations for Animal Crossing: Population Growing! and Animal Crossing: Wild World).

Example: in HTR13, Ohba and Obata say that L was lying when he called Light his first friend. No other media since treats this as a lie. Especially in Change the WorLd - L wears Light's watch for the remainder of his life. Also, the novel and film are explicit that L is affected by the horrible things he's witnessed while solving cases and cares about justice for the victims. The novels aren't written by Ohba and Obata, but they did have oversight and endorsed M's work on publication (though perhaps not as passionately as Nisio Isin writing Another Note).

All this to say I think pinning down the "true" L is difficult. I will say that I reject any interpretation of L as callous and uncaring, the same way I reject interpretations of Near as wholly unemotional.

In romance, I think he is basically as he appears in "L the ProLogue to Death Note: Spiraling Trap". He is enigmatic and somewhat difficult to earn the trust of, but he cares deeply about the people in his circle of trust. I don't have a screenshot on hand, but there's a line in the game where he says he'd be disappointed with himself if he ever let (you) get hurt or endangered. This is L. In Death Note's canon, we see similar things with the Japanese Task Force (recall how genuinely upset he is when Ukita dies).

Anyway, my honest thoughts on L romance, based on on a combination of the manga, anime and the DS game where the player can court him.

Earth-shatteringly good kisser, even though he's definitely never kissed anyone before. He's been orally fixated his whole life, he has S-tier instincts and rather lacks shame. Obviously, he's immaculate at oral sex as well. Just another thing in his long list of Mary Sue traits: genius savant, internationally recognized super detective, skilled at capoeria, English tennis champion... it's completely reasonable that this is just another one of those things he's perfect at on first try.

He's capable of being gentle but has a tendency to escalate - even brief, innocent kisses often spin out of control and transform into desperate grabbing and tangling tongues.

Verbally and physically demonstrative about his affections, when the mood takes him. L consistently shows himself to be a pretty bold personality who doesn't shy away from closing in on what he wants. He kind of just heedlessly does what he wants a lot of the time, doesn't he? That extends to when he wants to be around you, have your attention, be doted on, be entertained, kiss you, have sex with you etc.

In general, I would describe a relationship with him as "intense". He's an intense man. I can understand a dizzying range of headcanons for L, but any idea of him as "relaxed" or "shy" or "passive" or anything like that is just plain wrong and contradicts the person we see in every piece of Death Note media.

Thinks he's straight but is in reality gender agnostic when it comes to falling in love/being attracted to somebody. In Spiraling Trap he's confused if a male player gives him a Valentine's day chocolate, but in my view it's just because he's never given serious thought to himself with another man before. Once he starts developing a strong bond, he'll start to think differently and find that he thinks women and men equally appealing.

Has a bunch of kinks including (but not limited to) foodplay, shibari, feet (cliche but I really think so) and more I don't want to list here for fear of scaring people (nothing objectionable, just weird - by his own admission he's "strange").

For the life of me I can't imagine him as asexual, but if he is, he's the kind that finds sex and kink incredibly interesting on an intellectual level and likes to observe, even if he doesn't partake.

While writing this, I kept feeling compelled to compare him to Near, which is really funny and meta. Near was intentionally written by his authors to have a lot of L's traits as his "natural successor", but at the same time he's his own, completely different person. I don't mean to derail this into a Nearpost so I'll be really brief.

Broad strokes: As a lover, L is intense, confident and open. Near is subtle and withdrawn.

Both men prefer an educated, clever partner who can keep up with them intellectually, but their relationship secret spices are different. L is drawn to people who are interesting and offbeat in some way. Near is drawn to passionate, emotional people who he admires and feels invigorated by.

Things they have in common in love: they are both used to being waited on and getting everything they want, and so expect to be pampered (L with desserts, Near with requisition lists for toys). Detective work takes a lot of their time and they don't want a demanding partner who asks for a lot of time and attention. They don't suffer fools. They can be tactless with their partner on various matters, but don't mean to be malicious.

Things they're very different on in love: L can be fickle and mercurial, Near is more reliable and steadfast. L expresses his feelings verbally quite openly and enjoys just spending time with his lover, Near relies on gift-giving and physical affection to express himself, forever feeling a little shy and poor with words. L enjoys sex and is a natural at it, Near could go without and is average at best even with practice (sorry).

Now let's look at some pictures from Spiraling Trap together. (takes your hand)

(Isn't it wild how this game suggests that he would consider granting his detective code to his lover on his passing if he had one? Fuck them Wammy's kids, I guess.)

[froggos-are-superior]

Something I thought was really interesting was that in an interview, Obata said that while Near respected L, he didn't like him or approve of his methods. I think I read somewhere as well that L chose Mello and Near as his apprentices mainly because they didn't agree with him or like him as a person.

[kaoarika]

From my recent haul, I gave in and bought Smile: (Ryo Ikuemi's) The 40th Anniversary of Debut Special Book, because I was curious and no one else clarified to me what this was, tbh.

It's basically that: a book that collects many things about Ikuemi's career as a mangaka, including comments about her own series, what media adaptations they have had received (up until that point in 2019), what I assume is the "stapples" of what kind of elements or nods she would include in her series (literature, animals, fashion), her favorite pages of a selection of her series (including illustrations), a few interviews and a handful of homages/contributions in this book made by other contemporary artists and/or friends.

And I mean, it's a nice book. I appreciate the timelines for context of her career and for all the media adaptations her series have had (including a few records and "audiobooks", which I think are what we know these days as Drama CD, because, well, these were released in cassette form, too? at the time, I meant, lol).

The pages and the illustrations are a delight to see.

I cannot collect everything of hers (imagine that, lol), but some pages' panellings are simply gorgeous, like the one in the left above?

What I was slightly? disappointed was the limited illustrations' selection. I don't think that Ikuemi has had another illustration book of hers (The Best of Ryo Ikuemi [1990-1994] is the one that I bought last year), besides that one co-joint exhibition she did a few years ago? so it would have been such a nice thing to have more illustrations in color (don't remind Shuei*sha that their Betsuma Memorial website is still up, lmao)... like, I apreciate that it has some from her first couple of series, which, I mean. Especially POPS. It's the one series that put her on the map and it should mean a LOT to her. I also appreciate that it basically tells you about her artistic evolution in those 40 years.

(I'm only posting only this one, which is pretty resumed, lol, from 1988 towards the 2010s, but man, if those two in the right-center page aren't... really something)

I did mention it contains some contributions, like essays and a few fan comics made by other artists. I SAY, "contemporaries", but what I meant is more like "well, she has been doing manga for so long... so... I feel it's more like, friends? of her. I do know, for example, that she considers Nakahara Aya (LoveCom, DameKoi) as a friend, but she is absent here. Mangaka like Shiina Karuho and Obata Yuki, or Kawahara Kazune and Sakisaka Io, include some fan comics of hers. Interestingly, it's neat seeing how Shiina or Kawahara try to imitate her style.

(this is from Kawahara's contribution, based on Torch Ecology Song)

There's also what I assume (there's too much "assume", because I don't read much JPN and Google Lens doesn't work in my 5 year old phone to try and use Translate) is like a lost? chapter of I LOVE HER, that seem to happen in the middle of some events... but, it's drawn in more recent times (given the art style is more close to her recent stuff than, well, early 90s I LOVE HER) and it's kind of cute. It has this sketchy look more like a manuscript, so.

I really wish Ikuemi's work was more... oficially widely available (or, heck, more fan tl'ed... or AT LEAST complete... some series of hers that catch my attention, and turns out they haven't been continued in years...). I always seem to ask for her works to be licensed here in Mexico (or at least what I think are more "accessible" due them being "recent" or at least, a bit more well known), because... well, Ikuemi's works are a bit strange in general as they don't tend to fit into a "cookie-cutter" mould of shojosei series (especially those that were published in Betsuma between the 90s and 2000s). But, man, I want that kind of "strange" shojosei manga here and let her be more well known (I say "strange" because they tend to be... strange, lol - I'm currently reading My Beloved Niina/Niina, my love, and MAN that series is a storytelling mess -and without doubts, because I feel like, as it was being published online, and Ikuemi was ALSO working on another few series or one shots at the time... and the quality in the story? it shows; no wonder she doesn't seem to say much on the Special Book about it... I have been enjoying it, but the final stretch...)

[officialinuyasha]

Did Nobuhiro Watsuki say Aoshi and Misao get together? [Rurouni Kenshin]

kaorou999@youtube: actually, i heard that mr watsuki (the creator of samurai x) said in an interview that Aoshi and Misao do get together, im glad for that!!!

Chrno34@youtube: Yup, at the San Diego Comic Con of '06, a fan asked him if Misao and Aoshi got married and confirmed it.

Summoner Lenne10@fanfiction.net: Btw, all the Aoshi/Misao stuff comes from the fact I asked Watsuki at the 2006 Comic Con if they get married, Source: http://ladysarah92.blogspot.com/2009/11/

In Comic-con 2006 Nobuhiro Watsuki was a guest and was interviewed - As for Watsuki, he answered a wide range of questions. He talked about his inspirations and what made his decision to become a manga creator easier, such as a childhood appreciation of Doraemon and his apprenticeship with the manga creator Takeshi Obata, best known in the US for his work on the title Death Note. When pressed for his favorite character, besides the obvious selection of Kenshin himself, Shishio was a close second. People kept on wanting to talk about the anime, especially Watsuki’s involvement in it, not only of the Rurouni Kenshin series but the one of his most recent series Buso Renkin that has yet to be shown on Japanese television. They did have a clip of it there and showed it. Regarding his involvement with the anime, he checks the scripts and the character designs, and is involved with the selection of the voice actors. Source: https://www.comicsbeat.com/the-internet-manga-story-you-never-thought-you-would-see/ Copplola: We also had the honor of hosting two of our creators Nobuhiro Watsuki, creator of Rurouni Kenshin and the new Buso Renkin series, and Matsuri Hino, creator of Meru Puri and the upcoming Vampire Knight, and it was great to see the enthusiasm and it was wonderful for them to see how well they are loved here in the United States. Source: https://www.awn.com/animationworld/comic-con-international-2006-report

Saturday, July 22 The VIZ panel hosts Rurouni Kenshin creator Nobuhiro Watsuki who says, "Drawing manga isn't something you do for yourself. I'm always thinking of how I can draw this so readers understand." Source: http://www.sequentialtart.com/article.php?id=310

“Do Aoshi and Misao ever get together?”

Nobuhiro Watsuki is translated saying “Of course they did get together but probably they did get married.”

Comic Con panel in 2006 Source: https://queenkaoru-kamiya.tumblr.com/post/129845671098/aoshimisao-do-aoshi-and-misao-ever-get

[deathnotewiki]

Okay, so I found a huge thread on Twitter about concept Ryuk and whether or not this art was supposed to be him. Maybe I’m totally wrong, but I can’t help but wonder if we accidentally spread that assumption with this post. Like, I don’t think I even had that note at the bottom when I originally published it.

So just for clarification, in an interview with the artist and writer of Death Note, it was stated that early on, making Ryuk look like a handsome human man was considered. Ultimately, they went with a more monstrous design. Here is the exact quote from artist Takeshi Obata: “My original idea for the pilot chapters was for Ryuk to look like a young man similar to Light but with black hair and wings. I had the notion that Shinigami should should look attractive like rock stars. But if he were more attractive that Light, Ryuk would appear to be the main character and things wouldn’t work as well. So then my editor told me that he didn’t have to look human…:

The image above is featured in artist Takeshi Obata’s art book, blanc et noir, and is actually most likely an original character of Obata’s. There was no mention in that quote about zombie-like skin there are no wings on the young man. In fact, given how finished it is, I’d suspect it’s simply one of Obata’s original designs, never intended for Death Note. It’s not a quick concept sketch, but fully fleshed out. There is also concept art is featured in HTR13, but iirc, none is seen of Ryuk, monstrous or otherwise so it’s very possible the human-like concept was only discussed and never actually even made it to the rough concept sketch phase.

So my apologies if we accidentally contributed to spreading this misconception. “We can only guess” was definitely a misleading phrase” and the image was used because it seemed… idk I don’t want to say “close” or “relevant”, but in the end, we needed an image lol.

As for other rumors you might hear that sound too surprising to be true (I’m talking to you, Death Note TikTok; stop falling for jokes made on Twitter)—they very well might be.

This image wasn’t actually confirmed to be of concept Ryuk, so we can only guess.

[kiranatrix]

Obata on L’s design and clothes, from How to Read

[13eyond13]

I read in some interview (either Ohba or Obata) that L is the type of person you wouldn't want to sit next to on public transit. So that made me think, what would other characters vibes be like? What would Light, Beyond, and Mello be like? In transit? In a classroom? Would there be like this visceral feeling "Something is off with those guys". Headcannons or thoughts?

Haha, I love this question! 😅

I'll answer it for you later tonight when I'm not at work and have the time, but for now let me show you the real source of that quote (it was actually L's English dub voice actor, Alessandro Juliani... the part in question starts around 5:15 - you can open the video on YouTube if it doesn't work on Tumblr):

"L is pretty hard to encapsulate. He is an enigma. He is the guy that, if he got on the subway with you, you would move to the other end of the car, I think."

[43501]

Death Note has seventeen years worth of intense scholarship and analysis, particularly with regard to individual characters and their emotions/relationships/etc, but the series itself is very agnostic to that.

You see Ohba and Obata making statements in interviews to the effect of "we did this for action/suspense" and offering up frequently contradictory commentary on the characters. That's because Death Note is devoted to the plot and action above anything else. The interiority of the characters involved is kind of secondary.

[ruindunburnit]

@maverickcalf The ones I remember already seeing of his are:

- Interview with the Vampire

- The Last Samurai

- Tropic Thunder

- Edge of Tomorrow (which, fun fact, was adapted from Sakurai novel 'All You Need Is Kill', which was adapted into a graphic novel illustrated by Death Note artist Takeshi Obata)

- War of the Worlds

- Austin Powers in Goldmember

And perhaps smatterings here and there of Top Gun, Knight and Day, and Rock of Ages. (Thank my older sister for two of these).

Which is to say, my tastes are wide-ranging. And I guess when I write it all down, there's a reason I'm researching the works of Tom Cruise for this work -- I'm just thinking about where to start with extending it.

As part of further research into my novel, I'm going to challenge myself to watch some films starring Tom Cruise. Which ones would you recommend??

[kiranatrix]

Obata Interviews on Death Note Character Designs

In 2014, Takeshi Obata was on a panel at ComicCon (New York) and was asked some questions about Death Note and his designs/creative process. The panel discussions were recorded (Part 1 [interview], Part 2 [draws Ryuk and L, answers a few more questions]). There was a professional interpreter relaying the questions and answers. Here’s his answers to some of the more interesting questions:

Question to Obata: What were your impressions when you first met Tsugumi Ohba?

A: I thought, this was a cool adult. Yeah he just seemed very mysterious and cool and I thought I could create a good story with this guy.

-

Question to Obata’s editor: Did Ohba and Obata have instant chemistry together?

A: When we first started thinking about Death Note, I knew that Obata was working on Hikaru No Go but that he [Obata] was also into a goth aesthetic. I just had a feeling he’d be a really good artist for the Death Note story.

-

Q. How did you come up with this character design and what was your inspiration [for L]?

A: [Obata had a really hard time answering this] I started with the original writing I got from Ohba so in that sense L was based on his writing [stumped]. I was really intrigued by the weirdness of his character and his eccentricities so it was really fun to try and come up with something to fit. It’s really hard for me to explain my art or illustrations but what I wanted to do was capture his weirdness but also his coolness. Like he’s really strange and eccentric but really cool.

-

Q: And what about Ryuk’s design?

A: I guess there’s a bit of a mismatch there, because he has a scary face but acts so cute and kawaii. He is a shinigami with a human-like face and when I was designing him I thought it would be fun to depict someone who’s trying to wear high fashion from the Milan collection [Milan Fashion Week], so he’s having a little fun with his costume.

-

Q. Is Ryuk based on a real shinigami?

A: [laughing] It’s really hard to answer that question. He’s trying not to be a shinigami but he totally is a shinigami.

-

Q: [All You Need Is Kill] had a lot of mech and technology, was it fun to draw this?

A: I’ve always wanted to write sci-fi so it was really fun. I also got to work on drawing sharp lines which I don’t get to do a lot.

-

While drawing Ryuk, he said:

Obata: “When I draw a shinigami I start with an image of a skull. I wonder if ‘death god’ in the United States isn’t just the image of a skull.”

Mod: “It’s like the hooded death reaper character, from Scream, is what we think of.”

Obata: “Yes also in Japan. But skulls are pretty scary to everyone.”

-

Q. What do you pay attention to when you’re drawing Ryuk?

Obata: To make him not too scary but not too cute.

Q. What would make him too cute?

Obata: Too much facial expression

The translator explains that Ohba changed the story based on Obata’s design of Ryuk, so his design altered the personality of the character.

Obata said his hero was Sherlock Holmes, and his hobbies were sleeping and karate. If he had to describe his art style as a color it would it be either white or black.

[kiranatrix]

Looking Back Over 30 Years: Interview with Takeshi Obata

Interviewer: Did you think you’d have a 30th anniversary as a manga artist?

Obata: I jumped into a world where I didn’t feel I belonged, so no, I didn’t think it would last. It feels very strange to have an exhibition of my original works.

Interviewer: You’ve continued your career as a manga artist, was it that there was something especially enjoyable about it?

Obata: Not really...how can I put it...I feel like I was always in the pursuit of something (laughs). I guess... If I can draw something amazing, I have fun doing it. I'm always drawing, hoping that "someday suddenly, I can draw something that surprises me" (laughs). “Hikaru no Go” and “DEATH NOTE” had great fan response, and I also felt more “enriched” than simply “satisfied”. While I was drawing them, I felt, "I want to draw this as I see it!" Such a sense of fulfillment is important to me. I wonder if the feeling drives me forward.

Interviewer: Have you felt that your skills have improved over the past 30 years?

Obata: Not at all. I'm looking at an old manuscript (in preparation for the Never Complete exhibition), and I say, "No change ...". I’d say that my way of drawing pictures has not changed, but the technical side has improved. When I look at pictures drawn in my childhood, I feel, "If you draw the same subject now, you will tend to draw it the same way." However, I give myself occasional reminders such as "Don't draw a hand like this" or something. There were a lot of occasions when I was feeling like that during “Hikaru no Go” and “DEATH NOTE”.

Interviewer: What are you interested in in terms of painting now?

Obata: I want to find out what I like. I want to explore my favorite ideas, become better. If I’m not satisfied with something, I want to dig into my flaws and get rid of them.

Interviewer: You’ve mentioned a lot of conflicting feelings you’ve felt in your career.

Obata: Those feelings are, in fact, just not restricted to "manga" (laughs). I want to draw in more detail, I want to make my art symmetrical, I want to create dynamic shapes ... and so on. In the manuscripts, I draw it as a manga, but I cannot help feeling the artistic side too. This is something that is in my roots and will stay with me forever. If you really do something, I think that you have to draw only one picture you like, instead of a cartoon. Otherwise... Well, if I was going to be anything other than a manga artist, I have always longed to be a restoration artist.

Interviewer: Are you interested in restoration?

Obata: My interest is in how to approach perfection, rather than making perfection, how the work of an art restorer brings the original artist’s picture to a perfect figure. I'm sorry that I have a goal picture in mind and aim for the correct result ... I'm sorry for sounding selfish, but I think that if I can do an immaculate job, I feel better. Yeah, "I feel relieved" ... this feeling is not about "intent", "satisfaction," or "ideal", but only that it feels good to have it look the way I want it to (laughs).

Interviewer: Do you have an idea of what you’ll do in the future?

Obata: I don't know what it will be exactly, but as I said previously, in a nutshell, it will be "something that makes me feel good." Creating manga is all about balance, you must balance the work itself with what you want to draw, what the reader wants, consistency with the original (if it’s a sequel) ... and so on. However, since I was small, I feel that I have never drawn a perfect picture. I have a feeling that I cannot draw something exactly as it is in my mind, but if I continue to draw, I think that one day I may be able to complete an "incredible picture" (and achieve that).

Translation from a friend who wishes to stay anonymous.

[kiranatrix]

Takeshi Obata Interview on Death Note (English translation) 3

Interviewer: Did you draw the backgrounds [in Death Note] as well?

Obata: I had my assistant do it initially, but since this was obviously a scene involving someone getting run over (shown below), the editors intervened. The deadline for revisions was very close, so I redrew it all in one day. But the truth is that I actually want to draw important scenes like this myself. So even though I was on a strict schedule, if anything, I am happy I got to draw it. I also drew the background for the Shinigami Realm in Death Note, but that was something I absolutely wanted to draw, so I did my best. (Laughs)

Interviewer: Your depictions of death are also very realistic, Death Note included.

Obata: The corpse is a motif that is worth drawing. Probably because it's okay to have a still picture. The moment when the soul leaves the body and a human who was alive up until now becomes still, it's as if time itself stops. The body does not go against gravity, and there is no need to add anything to it. I can draw human beings as "things." Since things don't move, I can draw them "properly," and there is also a sense of being able to depict an instance of natural law. I also think that "death" is a signature pose in and of itself as well as a striking visual.

Interviewer: Are there any motifs that are hard for you?

Obata: Sport settings. Since I don't know much about tennis to begin with, when I got the storyboard for the tennis scene in Death Note, it gave me some trouble. I initially heard it was going to be fencing, so I thought, “Fencing?! I'd love to draw that!” (Laughs) I'm also bad at drawing Japanese armor. It's difficult to draw, and it doesn't look cool unless you understand the Japanese physique. So if I had to choose, I prefer slender Western style armor.

Interviewer: What is it that gives you trouble with tennis but makes fencing OK?

Obata: When it comes to tennis, baseball, soccer, etc., I think it's hard for me to relate to the fun and dynamic in the drawing. Fencing, on the other hand, has exemplary poses, plus the movements are simple. It's cool how they switch between moving to strike and assuming a stance. (Laughs) The fact that I want to try it out myself is an important factor as well. I am interested in chivalry, martial arts, and all sorts of disciplines. I also had fun depicting archery in Platinum End. I enjoy that stillness right after an arrow is drawn.

Interviewer: What do you do when you're forced to draw sports?

Obata: I think it would be impossible if it were a series of sports stuff. I'm not good with action scenes in battle manga either, but I somehow managed with All You Need Is Kill by drawing still combat images. I also liked the scenes with guns shooting. I guess I probably like sports that involve some sort of intermittent sharp movements. There are ideal stances and moves one should strive for in fencing, archery, karate, and I want to pursue these in my art. Even in Hikaru no Go, I enjoyed the beautiful swift movements of placing the stones onto the board.

Excerpts from the third interview with Obata as part of the Never Complete exhibit. Translations by @main-exam and a friend who wishes to stay anonymous.