TORIYAMA AKIRA SUPER INTERVIEW
From Daizenshuu Vol. 3, TV Animation Part 1.
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The Fusion with Animation
In talking about the story of Dragon Ball, the TV animation should not be left out. It has widened the fan base, and even now, many anime fans continue to send their support. The TV anime has developed with the author, Toriyama Akira, and now, he himself speaks about this aspect of Dragon Ball.
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Interviewer: For the third Super Interview, I would like to focus the discussion on the TV animation. For starters, do you watch the TV anime Dragon Ball?
Toriyama Akira: Yes. I watch with my children, such as while eating dinner.
I: Do you watch as a "general viewer" instead of as the "author"?
TA: Yes. But, while I watch during meals, I often make observations like, "ah, they did this to this scene...." Therefore, perhaps I don't quite fit the definition of a "general viewer."
I: Are your ideas and concepts brought to life in the original episodes broadcast on the TV animation?
TA: There are times when my ideas reach piece meal, through my editor, to the animators at Toei. Other times when I don't have a hand in a story, when the original episodes are broadcast on TV, I become excited with anticipation. While watching, I would think, "oh, this is cool too."
I: Do you always have in mind the minute details for anime story plans that don't appear in the printed original?
TA: I usually come up with the plans that are supposed to capture the general gist of the story. For example, for the part of an episode that will skip to five years in the future, I create the story line, "These things must have happened within those five years."
I: Have you ever submitted ideas for original TV characters?
TA: Another character was wanted for the episodes when Goku was training under Kaio-sama (King Kai), so I created one named "Gregory" (Please refer to P. 136 [of the Daizenshuu]).
I: When the decision to make Dragon Ball into an animated TV show was passed, did you make any stipulations about it?
TA: At first, I really didn't have any thing to say. I'm usually a hands-off type of person, but after seeing the actual broadcast, I wanted to make Dragon Ball more fantasy-like, so I do remember making that suggestion. Basically, I leave it up to the animators, and I only make inputs when I feel I really need to.
I: With the Dragon Ball animation, are there any roles that you yourself directly participate in?
TA: When the submitting of color samples for characters become more urgent than attending to my serial, I contact the Toei animators through the editing department. Also, it was my duty to listen to the audition tapes and decide the parts for the voices. When deciding on Goku's voice, I listened to five or six candidates before finally settling on Nozawa Masako-san.
I: What was your impression when you actually heard Goku's voice when the show was finally broadcast?
TA: I thought, "So, this what Goku sounds like." Thereafter, every time I sat down to draw the manga, his voice would come to mind. When this happened, the voice would be exactly like Nozawa-san's, so I thought, "She's good." Now, Goku and Nozawa-san are one such that I can't separate them.
I: So, did you choose the voices for the other characters?
TA: I participated in the voice selection process for the main characters. Also, I specifically named Tanaka Mayumi-san to act out Kuririn's voice. When I was watching Ginga Tetsudou-no Yoru1, I heard the main character's voice and thought it was a nice one, and a friend of mine who was knowledgeable about voice actors informed me that the voice was Tanaka Mayumi-san.
I: Have you been to the anime production studio or the post-recording site?
TA: About two or three years after starting the Dragon Ball serial, I went to the post-recording site. I visited the place where they were recording the voices, and my honest opinion was, "What an arduous task!"
I: Have you ever thought of trying your hand at voice acting?
TA: No way, not at all!! Not on your life!! (enormous laughter) I can never do anything like that!
I: What are your thoughts about the fact that "pictures move" in anime?
TA: I'm always impressed, "Animators are amazing." They have to draw the steps between one movement and another, so I'm impressed that they can get the timing down so well. That's something that I can't imitate. Also, I am jealous of the way anime can render sudden movement so well.
I: How about the way waza (special techniques) are rendered in special effects?
TA: I am very envious of the fact that they can use "light." In anime, a scene with an explosion can be rendered with a brilliant flash of light and sound, but with manga, the only thing I can do is to put in an onomatopoeia for an explosion, so it seems to lack a little punch (laughter).
I: So, I gather the area of sound concerns you?
TA: Yes! The fact that they can use sound effects like explosions and use sound tracks makes me jealous.
I: When you actually draw manga, do you ever try matching sound tracks with the scenes you draw?
TA: No, that never happens. However, when seeing the actual animation, and upon hearing the sound track to a climatic scene, I'd often comment, "This is nice." Verily, with the manga, I just can't draw while humming "fa la la la" (laughter). I'd turn into an idiot (laughter).
I: Do you have any songs that fit the image of Goku?
TA: Hmmm..., I'm not sure. In any case, I think the song would probably be bright, with a good tempo; the tempo would be upbeat, yet have a carefree air to it.
I: When you are drawing the manga, do you ever unconsciously mouth the lines?
TA: I don't speak the lines, but apparently, my face unknowingly gestures the same facial expressions as the characters that I draw (laughter). People such as my assistant and my wife point this out to me. During fighting scenes, a character's face is often severe, you know, "Rrrrr." So, my face would look just like it, "Rrrrr" (laughter). Therefore, afterwards, my face would all ache (laughter). I guess I'm a type that gets sucked into the story.
I: After seeing the animated Dragon Ball, were there any influences of the anime on your work on the manga?
TA: I once worked with Animation Director Ashida Toyo'o, and after speaking to him and seeing some of his anime work, I realized "Sharper lines are better for rendering battle." Also with coloring, I used to blend them together, but afterwards, I began to distinctly differentiate the transition of colors, just like in anime. I discovered that differentiating the colors had just the same effect as blending the colors. Furthermore, the sharp coloration seemed more fitting to a shonen-shi [boy's comic magazine], and coloring also became easier for me. These were the twin influences of Ashida-san and anime.
I: Have you ever seen any foreign broadcasts of the TV series Dragon Ball?
TA: I haven¹t seen any directly, but I have seen parts of some that were introduced on a special TV program. I was very weird, but I just thought, "oh well." Particularly, I saw a scene where Goku was eating something, and he exclaimed, "Ah, c'est bon!", and I couldn't help but think it just didn't match (laughter).
I: Do you ever watch tokusatsu [sentai] programs?*
TA: Around the time I was doing the "Ginyuu Tokusentai" [Ginyuu Special Combat Team] episodes, my kids were watching them, so watched along with them. Tokusatsu shows are pretty funny.
I: Is the Ginyuu Tokusentai pose the result of influence from tokusatsu shows?
TA: Yup (laughter).
I: Did you watch cartoons as a child?
TA: I watched anime like Tetsuwan Atom 2 and Tetsujin 28 Gou 3 until about fourth grade. Later in my elementary years, I liked watching live action stuff and kaijuu [monster] movies, and by middle school, I started watching regular movies.
I: Do you remember the first anime that you ever watched?
TA: I don¹t remember the first one that I saw, but one that really left an impression on me was Tetsuwan Atom. I would send away for Atom stickers and avidly collect them. Later, I saw 101 Dalmatians 4. I remember that this work too, had wonderful drawings. I also saw, on TV, shows such as Osomatsu-kun 5. We would all imitate the "Sheeeee" pose of the character Iyami (laughter). In addition, I liked Eightman 6.
I: What do you think about Dragon Ball, whose popularity today is comparable to the popularity of yesteryear'sTetsuwan Atom?
TA: Is that so?
I: Yes, it is! (Enormous laughter) Well, now that we got a lot of laughs in, I would like to close this interview. Thank you very much for the long time today.
* Information about anime will be continued in DB Daizenshuu Volume 5.
(June 5, 1995, At Toriyama Akira's residence)
TORIYAMA AKIRA SUPER INTERVIEW
From Daizenshuu Vol. 6: Movies & TV Specials. --------------------------------------------------------------------------------
The origins, and now to the future...
Toriyama Akira, as a boy full of curiosity, was captured by animation and drawing. And this boy became a manga artist that would fill people with excitement, laughter, and emotion. In order to transmit this feeling of excitement to many people, Toriyama Akira is presently continuing his great adventure, seeking the next fantasy.
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Interviewer: How would you position the animated movie Dragon Ball?
Toriyama Akira: I consider the movies to be a 'different dimension' from the original, printed comic edition. With the movies, I become part of the audience.
I: What is your role in the movie animation production?
TA: I check the plot and scripts that come from the animators at Toei Studios. I also design and edit characters and change names.
I: Are there characters that you yourself have designed?
TA: There are, such as Bojack [Movie #9] and Broli [#8, 10, 11]. Recently, they have been Tapion and Minosha [#13]. (For more info, refer to p. 182 [of the Daizenshuu])
I: How do you come up with the characters?
TA: I review each of the plans for the movies that come from Toei, and I design chara that match the stories.
I: In the animated movies, is there an antagonist character that you are particularly fond of?
TA: I thought that the transformed version of Janenba [#12], designed by animators at Toei Studios, was really 'cool.' I like the way the character moves in the fighting scenes. Incidentally, there are none of my own design that I like.
I: Is there a method to how you create antagonist characters in the original comic?
TA: Generally, I think to myself, 'maybe I should do this next' and develop the story. Then, I think of the characters. I'm always trying to think up fresh, new enemy chara that haven't appeared before, but it's difficult.... However, I believe I was able to develop Majin Buu well. Other times, there are often situations where I remain unsatisfied.
I: When creating a character, what part do you start thinking of first?
TA: I begin with the face. While thinking of the face, I conjure up the body. After deciding on the face and the body, I picture the basic attire. With clothing, I keep in mind whether it matches the environment that the character appears in, or if the chara is involved in battle, whether the outfit is easy to move in during fighting.
I: When creating antagonist chara, do you go through many revisions?
TA: In terms of number of pages, there are times when I draw 30 pages and am still dissatisfied, and there are also times when I draw one page and say, 'this is about it.'
I: What got you into designing game chara?
TA: I think Torishima-san (first editor) started me off. At first, I was less than willing, but in the end, it turned out to be very useful for me. I realized, 'so, there are worlds like this.'
I: By the way, what led you to come up with Goku becoming Supersaiyajin and his foes powering up [and transforming]?
TA: I am often forced into a quagmire because I keep approaching a limit to the characters' 'strength.' For example, I hadn't been planning that Goku could become Supersaiyajin. At the time I came up with "Supersaiyajin," I realized I had to change Goku's appearance in order to specifically show that he had now powered up. But design-wise, the facial expressions seem a little evil. I was concerned, 'is it OK for a good guy to look like this?' But, since he transforms by anger, I thought that 'may be it's all right after all.' That was a somewhat bold decision. Regarding enemy chara, if the editor says 'I don't like it' I change them on those grounds (laughter). Soon, 'transforming' became the norm for characters, and that put me in another bind.
I: Were you thinking of other methods of powering up for Goku other than Supersaiyajin?
TA: At that time, I didn't have time to think of many different options, so there aren't any.
I: 'Fusion' is another way to power up, right? How was that concept born?
TA: That, I think, as a concept, came out of a discussion with Katsura-kun* that 'there is nothing stronger than Supersaiyajin.' We usually just fool around with each other, and he jokingly said at the time, 'in that case, maybe the only remaining way to become stronger is to fuse together.' I replied, 'hey, that's a great idea! You do say good things sometimes. This is the first time you've helped me.' (laughter) That's how that idea was born.
I: How about the conception of 'potara'?
TA: Well, that was just because fusion was being used up in the movies, and I was thinking, 'what should I do?' Since I had been drawing earrings, I wondered, 'can I use these somehow?'
I: So, you didn't draw the earrings as a way to fuse together from the beginning?
TA: Nope. They were initially just decorations.
I: Then it was a product of the circumstances.
TA: I've long been walking such dangerous fine lines (laughter). However, when I'm cornered, my brain waves seem to sharpen, and somehow ideas start to flow. In addition, I'm good at forceful finagling (laughter).
I: That's amazing.
TA: No, it's not amazing at all. I'm always anxiety ridden. In the previous episode [of the comic] I wrote that 'something phenomenal is going to happen.' Thus, now I have to stick to my words and have to do something that really is awesome. I'm suffering inside (laughter).
I: In the field of filming technology, in the movies, Reviving Fusion!! Goku and Vegita [#12] and Dragon-ken Explosion!! Who's Gonna do it if Goku Doesn't [#13]* there are computer-rendered special effects; how do you feel about such techniques?
TA: Instead of the notion, 'let's use any new technology,' I tend to believe that interesting films can be created without such technology. However, if movies can be prepared more effectively with it, I agree to its use.
I: Is there anything that you yourself would like to do on a computer?
TA: There are. I only think of ways to make things easier, such as taking a 4-view drawing of a mecha and making it move. Or, drawing preliminary sketches and having them rendered into final drawings (laughter).
I: By the way, of the movies and TV specials, which is your favorite piece?
TA: I like the story about Goku's father, Burdock. It's very dramatic and is the kind of story that 'I would never write.' I mean well when I say that it seemed as though I was watching a different kind of Dragon Ball.
I: I would like to inquire about more personal matter; what is the first drawing that you did that you really felt good about?
TA: My earliest memory of having done a drawing 'right' is that of a horse. I still remember it. I felt that 'the joints were drawn well.' I have liked drawing for a long time, and when we were little, since there weren't many forms of entertainment as there are today, everyone drew. When I was in elementary school, we all copied manga and anime drawings.
I: In that case, perhaps that period of your life is connected to your present occupation as a manga artist.
TA: It might be. I stubbornly kept drawing. At first, we all draw at the about the same level. Eventually, I began drawing original pictures of my friends' faces, and it was then that I began to feel that 'drawing pictures is fun.'
I: Is there a 'starting point' to your drawing?
TA: I myself believe it was Walt Disney and Tezuka Osamu*. When I was a child, there were drawing schools called 'Zugayasan.' Local children would boisterously congregate and draw pictures. I remember one day, I drew a picture from 101 Dalmatians, won a prize, became ecstatic, and here I am now. (laughter).
I: Aside from manga, do you ever personally draw illustrations?
TA: No, I don't. But, I have a habit from childhood of restlessly looking around my surroundings. Even when I go out shopping, I enjoy observing the appearance of the city rather than the actual shopping. The city scape, little objects and clothing that I observe have been useful in drawing manga. Also helpful was when I was forced to draw everyday objects when I was working for a [graphic design] company. 'Ugghh... Why do I have to draw one hundred pairs of socks?!,' I would complain (laughter). In retrospect, those things may have helped me.
I: Do you ever sketch out something you see?
TA: No, I don't. I burn the images into my memory. Therefore, usually when I try to draw it on recall, I make mistakes. 'Was it like this?' (laughter) But, I remember the general image. Although not accurate, I rely on my memory, and I can draw most things. I guess perhaps there isn't anything that I can't draw.
I: In the interview for the 5th volume [of the Daizenshuu], you mentioned that you'd like to create an original anime, but what role would you want to have in the work?
TA: I would like to compose the story and the character design by myself. I'm thinking of creating one that anyone can enjoy, whether old or young, male or female. Furthermore, if possible, I want to draw the manga first before the anime, so when the animation is actually being produced, it will be easier to transmit the feelings of the work. If I draw it out first, I can also see if it is interesting. Even as a one-shot deal, I would like to draw it. Right now, I'm searching for a plot.
I: In closure, do you have any info on the upcoming movie?
TA: The film that will be released next spring, it seems like, will be 'the story from comics volumes 1 through 8 that will be recreated in a condensed form.' [Movie # 14, The Path to Ultimateness*, March 1996] In addition, the people at Toei want us to pay attention to the special effects techniques that they will be using to spice up the movie. During the early broadcasting of the TV anime, Dragon Ball, the people at Toei and I weren't used to the drawings yet, so I'm curious as to what they can accomplish with their current expertise. I hope you all can look forward to it too.
I: Thank you very much for the valuable discussion today.
(October 5, 1995, at the Shueisha Offices)
FAQ!!
A: In certain parts of Asia, beings with a third eye on their forehead are thought to be godlike and are said to possess the power of true seeing. It seems that Tenshinhan, who was raised to be evil by the evil Tsuru-Sen'nin [Crain Hermit], lost the ability to use the myriad powers of his third eye for good purposes.
Q: What happened to Vegeta's tail after he was defeated on Earth?
A: The tail lets you gain tremendous strength instantly by transforming into a giant ape, but the risks are equally great--you'll lose your strength if it's squeezed. Once you're as powerful as Goku and Vegeta the tail just gets in the way. It is thought that the bodies of Saiyans, who are a fighting species, decided that their tails are unnecessary appendages
Q: Is there such a thing as a female Saiyan?
A: Of course there are. Even though they don't appear in the manga, they do exist.
Q: Is Puar male or female?
A: For what it's worth, I thought of him as a male when I was drawing him.
Q: What is Majin Buu's power level?
A; The frightening thing about Majin Buu is his unknown, unfathomable power. Whether it's actually not that much, or whether it's really stupendous, majin Buu himself probably doesn't know the answer.
Toriyama-san was kind enough to lend us his time and answer us some
questions about Doragonboru (Dragonball). We will be asking some of the
questions we recieved by your fan letters. Much thanks to Toriyama-san for his kind gesture.
I do not know how true they are, but I thought it was interesting to look at.
So your opinions are all fine and dandy but I hope you enjoyed the interviews.
Well I thankyou guys for pointing this out to me, sometimes I can believe anything. (My mom says)
