Giant Robot Store and GR2 News

  It’s here. The Taiyo-yo. Is it the answer to all my prayers or the beginning of the end? The yoyo is bundled with the first book of Taiyō’s beautiful new work SUNNY, currently serialized in Shogakukan IKKI. Taiyō is back in great form with this semi-autobiographical story about the lives of children living in a Kansai orphanage. Run, don’t walk, to your nearest Village Vanguard.
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Get ready, Osamu Tezuka fans, because the god of manga’s considerable body of work is now available on an iPad near you. In English. That’s right, Tezuka Productions and a Japanese software company named SOBA Project Inc. have created the Tezuka Osamu Magazine Club app, which makes available 62 volumes of the beloved mangaka’s comics to manga fans in the form of a cloud-based subscription service. It allows users to read through pages and pages of “Astro Boy” and “Black Jack” from the comfort of wherever they and their iPads happen to be. And Android device users need not feel left out, because the plan is to port the Tezuka Magazine app to that mobile operating system during this coming fall and winter. For iPad users, the app is free, but the service is US $9.99 per month. But for that fee you get access to as many Tezuka comics as you can handle, and to 39 episodes of what Tezuka Productions and SOBA are calling animated “Black Jack” “Motion Manga”. So now, it’s possible to easily carry around an entire digital library by one of the greatest comics artists in history. In Japanese and English. Pretty cool. In fact, about the only downside we can see right now is versions of Tezuka Osamu Magazine Club in languages other than English are only under consideration and not definitely planned (Mainichi Daily News – Tezuka Osamu Magazine Club) The app is available on iTunes.
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Since childhood, mangaka Natsume Ono harbored a deep fascination for Italy and other foreign destinations. She began drawing comics about them as a self-publishing dojinshi artist and eventually had the opportunity to visit the Italian peninsula in 2001. After nearly a year, Ono returned to Japan to start the web-comic La Quinta Camera. Her work was quickly noticed by the manga industry which lead to her start as a professional mangaka. Since her debut, Ono’s follow-up Ristorante Paradiso was a huge success spawning both a sequel and an anime adaptation.

GR: Critics often talk about the complexity in your narrative and your mature writing perspective. Some attribute it to your late start as a mangaka. Do you think starting your career at a later age affected the way you approach your stories and characters?

Natsume Ono: I’ve actually been drawing manga for a while. What’s considered my debut happened after I developed my writing style. So, I’ve been writing a little bit longer than is generally acknowledged.

GR: You were about twenty-six when you started drawing the web comic La Quinta Camera. When did you decide to pursue manga as a profession?

NO: So, I have been drawing manga as a hobby for a few years. I took a break from work to visit Italy for ten months to study Italian. When I returned, I found myself out of work. For nearly a year, I just continued drawing manga. I thought to myself, “This is what I’m doing anyway; I should try to do this professionally.” That was the first time I decided that I want to be a professional mangaka.

GR: You’ve mentioned that you studied abroad in Italy. How old were you?

NO: I was twenty-four/twenty-five. It was 2001-2002. Nine years ago.

GR: Did you travel all along the peninsula or did you stay in a particular city such as Florence, Rome, or Venice?

NO: I was in Bologna. Looking back I wish I visited other cities, but I was just in one city at that time. [laughs]

GR: A major theme in many of your works [such as Not Simple and Ristorante Paradiso] is the concept of travel. Can you discuss the way you use travel as literary technique in your work?

NO: This doesn’t answer the question directly, but I don’t really think about the “why”. So, I’ve never really thought about travelling or what it represents. Because to me, the character just starts moving. Then I look back and think what that might have meant for the characters to have done that. But there isn’t really a purpose when they start moving.

GR: Is it related to the Japanese concept of jibun sagashi no tabi (“a journey of self-discovery”)?

NO: I never tried to impose my personality in any of my books. It is precisely why I’m careful to keep myself out of it, so that common traits are developed which maybe represent something deeper inside of me. But none of it is done consciously. [laughs]

GR: More specifically in the manga Ristorante Paradiso and La Quinta Camera, I’ve noticed you frequently use Italy as the setting. What is it about Italy that inspires you?

NO: I have already been using Italy as a stage for my writing before actually going there. It’s really based on a childhood admiration of Italian culture. There certainly were Italian sports on television, and I loved the food. As a child, I kind of liked Italy and started drawing comics about it. Then I decided that I wanted to keep using Italy as the setting, but wanted to see it before trying it again. That’s why I actually went there so that it would make sense [in my work].

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