This one’s a Kentaro Miura interview by Yukari Fujimoto, a writer/professor of gender studies and shojo manga. It’s a pretty old conversation — originally published in September 2000, which in
Terms is just before volume 20 came out. Lots of good stuff in it though: he talks about the friend who was the inspiration behind Griffith, how little of the story he had planned out originally, and why the
This isn’t the full interview — just what I thought were the more interesting chunks of it. It was really long and a true bitch to translate into intelligible English, so I just don’t have the energy/interest to do the thing in full, at least not right now.
Berserk Volume 14 By Kentaro Miura: 9781593075019
–When I first started reading Berserk, I was like, hey, this is Violence Jack! And then I was like hey, this is Guin Saga! And then when I got to the part where the demons swarm around Guts and tell him he belongs to them I was like, hey, this is Dororo! That’s just what it reminded me of personally, though, so I’d like to start by asking whether you actually did have any works like that in mind when making Berserk.
Miura: I was a manga reader. There are things that I’ve consciously borrowed from, but there are also things that have sunk to the bottom of my consciousness and pop up out of nowhere later. They’ve become part of me.
Was the biggest source for this fantasy universe. That atmosphere it has just stuck with me and now I think of it as the standard to measure things against, so I suppose you’re right.
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, there was this illustration of a two- or three-meter-tall giant wielding a sword. Guts’s sword is a cross between those two. It’s just the right size to be still somehow carryable, while giving that close-to-the-action feeling of violent men’s manga. I couldn’t make up my mind for a while, though, and Guts’s design went through quite a bit of change — long hair, wielding a katana, etc. After agonizing over it for a while I ended up with what he is now, and I felt like I really nailed it. All I had to do was somehow capture the swinging around of that sword and that
Of it. I probably don’t know what I’m talking about given that I’ve only created the story for one manga, but when you do manage to hit upon that crucial something before you start, I feel like it works out.
–Absolutely. I wasn’t expecting you to be inspired by the sword in Pygmalio, though. I mean, Kuruto [the protagonist] does have a small body and carries a big sword, but the art and universe in your manga seems completely different. Then again, your editor did say that all kinds of surprising things appear in your manga in bizarre forms. (laugh) Like, apparently you’ve used Ranpo as reference when drawing. Of all manga, though: Ranpo and Berserk…
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Miura: The thing is, when you’re just an ordinary manga fan not aiming to become an artist yourself, you get to choose whatever manga you like and read within your own safety zone. When you’re trying to become an artist yourself, though, that’s not wide enough. You won’t make it. So there was a time that I was trying to read as broadly as possible — which there’s a limit to, but I’d try to read basically anything that wasn’t painful to read, anything that people recommended to me, anything that was popular.
Miura: The truth is that I sat at my desk drawing manga all the time and seriously lacked personal experience, and I felt insecure about that. Which is why I started thinking that I had better at least absorb as much of the stuff people recommend as possible.
–When was it that you feel you’d cleared the bar in terms of art? By which I mean, when was it that you started feeling satisfied with what you draw and your style came together for you?
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Miura: Now, here’s the thing about drawing. When we were young and stupid, we used to copy stuff drawn by guys like Yoshikazu Yasuhiko and Fujihiko Hosono and practice drawing mangalike pictures. We were in fine arts, though. We used to have to draw things for class and I was pretty good at it, but I wasn’t very good at manga art. So I wanted to learn how to draw like Fujihiko Hosono, but I also wanted to make use of my realistic drawing abilities. And then meanwhile, I wanted to do an intricate story like
You know how they said on [the TV show] Manga Yawa that I was bad at drawing? They’re absolutely right. Ever since high school, I’ve been trying all sorts of different things to combine being good at drawing reality with being good at drawing manga art. If I were doing a story like
. The manga I want to create, however, has aspects to it that can be downright shojo mangaesque, and I wouldn’t be able to pull that off if I went all-out
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, and after much wrestling with this I finally ended up with my current art style, although I imagine that it will still be subject to change.
–Ah, so you try to give a certain delicacy to your art as well as the story. I actually have this personal theory that Berserk is really a shojo manga, but I take it then that it wouldn’t come as much of a surprise for you to hear that?
Miura: Makes sense to me. Shojo manga is all about expressing every feeling powerfully, and in that sense it’s not as contrived as manga for men. Men’s manga tends to come off as more calculated to sell well, whereas shojo manga are somehow just… fluffier. I realize that’s not a very descriptive word, but anyway, that might be something I have in common with shojo manga.
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Miura: I guess what I mean is, like, in order to express emotions, logic comes second, whereas it’s usually the other way around.
Miura: [In high school] I was in a group full of people saying they wanted to be manga artists, but were actually busy getting girlfriends and getting into fights, so they weren’t really all that otaku. So I was basically the biggest manga nerd out of the bunch. It was a group of five, and I was pretty much the yellow ranger of the group: lagging behind in terms of emotional growth, but way ahead of the others in terms of drawing ability. I wasn’t capable of making a story that would really make anyone feel much of anything, though.
So that information coming from outside — the other group members’ love troubles and fights — was really new to me. Also, there’s the fact that people who go into fine arts tend to be people with big egos who all have something that they’re particularly good at, and so with these other guys showing off what they’re good at, I wanted to find what
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Could do. Drawing, I decided, was my only option. The only way I could keep on equal footing with these guys was to make my mark as a manga artist. It became this strange obsession for me.
–Is that idea that you had to stay on “equal footing” something that is reflected now in the relationship between Guts and Griffith?
Miura: Yes, it is, quite a bit. I don’t know what relationships between boys these days are like, but back in the eighties, boys were really obsessed with stuff like how good their friends were at things, how highly they “ranked” in comparison to their friends, etc. For boys, friendship isn’t about consoling each other. Sometimes you even try to take the other guy down a peg or two. But to break away from those friends would feel like admitting defeat, and you do help each other when you find some sort of goal. That’s where the Band of the Hawk comes from.
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Miura: Right. I’d done some training to change that group of high school friends into a band of mercenaries by the time I was graduating university.
–And you took that formative experience and put it into the sprawling original fantasy world of Berserk. When’d you come up with that idea? How much did you plan out at that point?
Miura: I’d hardly thought any of it out at first. I had no idea how far I’d be able to run with just that original idea for the manga, and I really hadn’t come up with the idea for the Band of the Hawk at all. Aside from the monster-slaying black swordsman, I had this idea that it’d be easier to give him something to fight if I added the element of revenge to it, and that was about it.
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–That’s true of the prototype story, but from the very start of the actual series we see Griffith’s transformed self as well as Apostles and the God Hand, so it at least certainly seems like you had worked out quite a bit
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