Quotes of All Topics . Occasions . Authors
I'm a huge anime and manga fan.
I'm a comic reader and a manga fan.
I've always loved Japanese legend, anime and manga.
I grew up on anime and manga. That's part of who I am.
I'm just a manga artist, so I can't stand being scrutinized.
I work at a high school, and we have an anime and manga club.
Simply put, I'm glad that manga as an expressive form is expanding.
I've been immersed in manga since I was a kid. I grew up with this culture.
My house is like a manga library in many ways, and it's great because I get to call it research.
I've been a fan of Yoshida Akimi's manga for a long time; she's one of a few women's manga writers that I always read.
More than my films being influenced by manga I was indelibly impressed by Manga, and that definitely comes out in the films.
For a long time, I've loved the kind of characters who are boastful yet petty. I was originally a gag manga artist, after all.
The first Nintendo game I ever got was 'Clash at Demonhead.' I got into anime and manga thanks to that Canadian classic, 'Sailor Moon.'
I'm really interested in independent publishers and memes and mini comics. But even before that, I was interested in Japanese manga and anime.
I love print fiction, but sometimes when I'm reading a good graphic novel or manga, I find myself envying those who work in an illustrated format.
As a child, because manga was always around and I was reading it, I naturally thought, 'Hey, I'd like to draw manga - I'd like to be a manga author!'
In manga, nothing actually moves, and you just have to draw the poses in each panel, but in anime, you have to draw the movements between those poses.
There was a manga boom, so I read 'Astro Boy,' 'Osomatsu-kun,' and such. But what influenced me the most were things like 'Popeye' and Disney animation.
I admire the abstract expressionists and pop artists so right now I'm referencing American '60s art and at the same time referencing Japanese manga culture.
I was born in Japan and moved to L.A. when I was six, and I grew up with Japanese culture. I was reading manga, and I read 'Death Note' in real time in Japanese.
So many of us, we love these things that come from Japan. We play the video games every day, we read the manga, people watch the cartoons, they absolutely love it.
Manga, as a medium, is very different from cinema. Its creators are free to express themselves with harsh, cruel stories, and they enjoy vast distribution throughout Japan.
This kind of stuff, it wasn't the cool thing when I was growing up. Now, pop culture is comic books, super-hero movies, anime, manga, and I've been doing it for a long time.
The nice thing about gag manga is how it has this aspect where, at the very least, you're permitted to come out with anything. In my case, anything can talk. Like the mountains.
With manga, in my art style, I don't do much in the way of techniques to create depth. But even though I don't do depth techniques through my art, I am conscious of depth itself.
In Japan there is a lot of manga, but around manga there are video games, manga on cellphones, manga in card games... so people not only enjoy manga but also the products around it.
I've always loved science fiction, fantasy, manga, comic books; so I guess, to some degree, those things influence my personal idea of what looks nice, which definitely isn't everyone else's.
Before and after my debut, I've helped out other manga artists from time to time, but I have no experience of being exclusively an assistant. Nor have I done individual or self-published manga.
I know as a child, I was really interested in becoming a manga artist, to create my own stories and illustrate them and present something that people would be interested in reading and looking at as well.
I'm perfectly fine with the fact that lots of young folks are wanting to watch anime and read manga. I'm perfectly happy that they are doing things online, reading there as opposed to traditional print magazines.
I do enjoy manga but would not consider myself a 'super-fan,' only really connecting with certain works such as 'Lone Wolf and Cub,' or 'Tekkon Kinkreet,' the more breakthrough works, and 'Akira,' to me, is the daddy of them all.
Manga uses Japanese traditional structures in how to teach the student and to transmit a very direct message. You learn from the teacher by watching from behind his back. The whole teacher-master thing is part of Asian culture, I think.
'Female Convict 701: Scorpion' is based on a manga as is 'Lady Snowblood.' I saw 'Lady Snowblood' in the theater between writing issue three and issue four of the first arc of 'Pretty Deadly,' and I was really surprised how much I was influenced by it.
There are loads of novels that I really love, like Haruki Murakami's books, and when I read them, I do think about how they would work as an anime. But I do believe that those are great books because they work best as novels, or great manga work best in that form.
People start panicking because they think it's the end of everything. But the fact is, you know, books survived movies; books survived TV. Books are surviving manga and anime. Books will always be there in one form or another. You just have a larger palette of entertainment options.
When I was a teenager, I felt my life was constrained by rules, school, my parents. I wanted to feel like I was empowered and different; that's why superheroes, comics, manga, and video games filled my needs. When I got older, I realized power is not free; it comes with responsibility.
So many Hollywood adaptations of really popular manga series just don't get it right, and for me what was really important was that if I was gonna do 'Naruto,' I wanted to actually work with Kishimoto and get a script to a stage where he would look at it and be excited about realizing it.
My generation was a special generation. I was born in 1960 and in my childhood we were all big manga consumers that was the culture. We were brought up in manga. Manga evolved around what was being made to cater to kids. All children at that time read ridiculously thick manga books every week.
In a way, 'Sin City's designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn't as much for the eye to enjoy.
I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.
One of the things I enjoyed when working in manga was when I couldn't tell where anything was going because there weren't narrative tropes and structures I was used to. After doing it for seven years, I got to the point where I did see structures. I did start to learn, but at first I didn't know where it was going. It was very exciting for me.