That included a lengthy interview with the manga’s creator, Hajime Isayama, in which he talks about such topics as how it feels to have produced an ultramega hit, how he came to be interested in manga, his inspiration behind the characters he’s created, and his thoughts on recent kaiju films, among a lot of other things. You may notice that the interviewer talks to Isayama almost like a psychologist; this is because he, in fact, is.
The magazine went on sale in November 2014, so the interview presumably took place sometime not long after volume 14 went on sale.
Since the first volume came out, but it’s since become such a smash hit that now you can find it at convenience stores. Do you ever feel pressure knowing that?
Attack On Titan' Creator Hajime Isayama Auctions His Manga Desks For Charity
Isayama: It feels like reality is getting farther and father away. People say things say things like my dreams have become reality, but ever since I won that first prize back when I was nineteen, it’s felt more like reality has been
Isayama: I knew that making a living from drawing manga is extremely tough, so my dream back then was just to make enough to feed myself with my manga, even if it never became a big hit — let alone the idea of becoming a millionaire.
, but I figured that most aspiring manga artists must feel that way, and that I was just another kid underestimating how tough the industry really is.
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Isayama: I was repelled by the sort of manga that’s based on marketing research about what sort of characters or plot elements will be popular with readers. Relying on that stuff, you’ll never make anything
Comes off as something very fresh, something that doesn’t feel especially inspired by anything that came before it. How long have you had the idea for it?
Isayama: As manga artist friends of mine in their 40s tell me, manga magazines used to be full of apocalyptic stories until pretty recently, and I do think I’ve been influenced by those manga.
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Isayama: I came up with the original idea for the one-shot called “Shingeki no Kyojin (Attack on Titan)” that won me my first ever prize, and then I didn’t think about it for a while after that until I was 22 or 23 or so, when my editor asked me to consider making that old one-shot into a long-term series, at which point I spent a half a year coming up with the details of that whole world. I still feel like it’s pretty shallow compared to the level of the sci-fi universes my older artist friends shared — like, I never read
Isayama: What, like, “Screw the world, let it all go to hell”? Yeah, I used to really think that quite a bit — like, I’d wonder what it would be like to live in a world without people, like in
Isayama: I think I could actually pull it off so long as I have my living environment intact. I could probably easily live the life of a hermit if access from the outside world were cut off.
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Isayama: It seemed like my editor wasn’t going to let the series start to be published unless I had an ending in mind.
–Buichi Terasawa said there are two types of manga artists: People who can’t produce manga unless they have the whole structure of it figured out, like Terasawa himself and Hirohiko Araki, and people who simply create characters, which they then allow to act however they want. Do manga editors these days tend to always maintain a firm grip on the structure of a manga as it’s drawn?
Isayama: I’ve only ever worked with my current editor Shintaro Kawakubo, so I actually would be really interested in knowing how other artists go about it myself. Thinking about it now, though, I don’t think I had thought the story all the way through back when I started it.
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–Some people use ideas that they came up with back before becoming a manga artist. Did you come up with any ideas back when you were in school?
Isayama: I did think about what kind of story I would do if I were to get to do a manga series someday, but those ideas aren’t something I use in my current work at all, and the notebooks I used for brainstorming are all sealed away in my parents’ house. (laugh) It is true, however, that I’ve always been drawn to protagonists who become strong through transforming, which might be a personal desire of mine.
Of it. I had some hang-ups about my body, so I was always drawing manga about transforming heroes since back before I ever got published.
Attack On Titan Creator Hajime Isayama Explains His Thought Process Behind The Ending And His Future Plans
–By “hang-ups”, do you mean you were overly self-conscious about your body, as opposed to feeling bad about yourself because of things other people said?
–Those troubles do tend to start around junior high school, to the point that we even have that term, “eighth-grade syndrome” (chunibyo). Why was your body a problem?
Isayama: That could have been part of it too. I grew up in a rural area, so I was surrounded by the same people ever since preschool, and it felt pretty weird when people started dating all of a sudden in junior high school. It seemed gross to me — we’d grown up together almost like siblings.
Hajime Isayama On Attack On Titan Ending, Inspirations For Characters And More
Isayama: There were just the two elementary schools feeding into the one junior high school, so in each grade you had two classes of just over forty students, and it was not a fun situation to be in. It wasn’t so much the dating as it was the peer pressure, and the whole rah-rah school spirit mindset, that I just couldn’t deal with.
Isayama: Junior high school. I’d watched anime and read manga up until then as much as the next kid, but I didn’t know that there was this whole world of otakudom out there until I became friends with a Sega fanboy in junior high.
Isayama: I liked how it put reality off to the side. I liked the idea that this might be a world produced by electrodes stuck on our brains. I thought it’d be awesome to actually be a battery for machines like in
Attack On Titan's Author Gets Emotional While Apologizing To Fans For The Controversial Ending
Isayama: Yes, I hated how pathetic I felt I was. You can see it in my manga, too — if there’s a character to my work, I think it’d be a sort of “endless adolescence”.
–It’s puzzling to me that you can consider yourself pathetic, having taken that teenage angst and refined it into a smash hit.
Isayama: The manga I like have mature, smart, cool characters. I want to make a manga like that too, but as I go along it’s becoming clearer and clearer that’s just not the manga I’m making.
Attack On Titan Creator Dreams Of Opening A Sauna
Isayama: Well, I don’t really have much experience with that myself. It’s sad to know that I won’t be able to become like the older artists I respect.
–I don’t think you necessarily should become like the people you respect anyway, though. What about them seems so unattainable for you?
Is being well received, but there are all sorts of incredible works of entertainment out there, and I wish they would receive more attention and be praised more.
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Isayama: We may start from the same point, but not everyone necessarily gets the reception they deserve. I’d say luck is half of what determines success.
–The design of the Titans is ugly — or maybe terrifying is the better word — in a way that I’ve never seen before. Where’d you get the idea? I’ve read in an interview that you were influenced by
Isayama: It might just be something like habit. Doodling as a kid I started drawing ugly stuff, and by the time I was in junior high it got so that I was drawing ugly things exclusively. Just as everyone’s handwriting is unique to them, I think my art is idiosyncratic to me in its ugliness; people got a kick out of it and it somehow caught on.
What Is 'attack On Titan' Creator Hajime Isayama's Net Worth?
Isayama: I actually felt my art looked pretty good when I was starting out, but I’ve come to feel worse and worse about my art as I’ve gradually noticed how awkward it looks.
–When you say that, you’re talking about how your art looks in terms of composition, right? There are a lot of artists out there — like Daijiro Morohoshi and Hitoshi Iwaaki — with idiosyncratic styles that are compelling despite not being accurate in terms of composition.
–I’d never thought of him that way until I heard other people saying it. It’s true that he does some serious corner-cutting and does things like draw characters constantly wearing the same clothes, but I think that flavor of his is actually a boon.
Attack On Titan 2
Isayama: That’s how I felt when I was starting out — I was scared of being a run-of-the-mill tree with run-of-the-mill leaves that’ll blend right into the forest. Better to have memorable art, even memorably
–You’ve done better than leaves; what you have is great big flowers. I see that the critic inside of you is still nitpicking away, though, despite the overwhelming acclaim
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