Hello everyone! My post for this week will be focusing on one of my favorite illustrator/manga artists’, Hajime Isayama. His work inspires me as well as many other people around the world. Isayama’s art style is very expressive and unique as well as his story telling and the way he conveys emotion through the characters he creates for his stories.
Hajime Isayama was born August 29, 1986 in Oyama, Oita, Japan. Once he graduated high school, he pursued his career of becoming a manga artist by enrolling in a cartoon design program at Kyushu Designer Gakyin. After he graduated, he went on to create manga of his own. One of his most popular and most well known mangas is
Back in 2009 and it’s still on going with only 5% of the story to go. The series, 4 years after it’s release, got an anime adaption that took the world by storm in 2013. The anime currently has 3 seasons with it’s 4th finale season in the works. The series has achieved many awards over the years like the Fine Work Award (2006) for the early serialization of
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, the Kodansha Manga Award (2011), the 17th Michelazzi Award (2014), as well as the Harvey Award (2014). Hajime Isayama has also made other manga like
Isayama’s art style is very raw and emotional. The expressive lines really help to convey the emotion to the reader. His line work is also very bold and detailed, that’s what is very captivating about his style, he’s not afraid to be bold and go out of the box. The cross hatching technique he uses for a lot of the examples I have shown above, gives the characters depth and I like this shading technique because it doesn’t look smudged instead it looks clean and crisp. He only uses a little bit of greyscale tones under the cross hatching to give it some form of color and that’s what I find to be unique about his work, it’s very simple and minimal. It also brings emphasis to the characters’ features, for example, the face. Isayama is very good at bringing really raw emotion to the face with cross hatching and many different types of lines. I find what he does extremely well is making his characters look realistic even though it’s animated.
My style of drawing is kindled by Isayama’s work and style and he is one of the biggest inspirations for me because even though some people told him that he wasn’t very good in the beginning, he defied that and he improved so much. As an artist you can only improve.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.
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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?
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
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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.
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
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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.
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
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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.
Isayama: It seemed like my editor wasn’t going to let the series start to be published unless I had an ending in mind.
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–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.
–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?
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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.
–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?
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–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.
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.
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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
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”.
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–It’s puzzling to me that you can consider yourself pathetic, having taken
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