If you're familiar with Manga or Anime of any sort, it wouldn't be a stretch to assume that you have heard of Trigun. Critically acclaimed and one of the more popular series in the last five years (Trigun #2 was actually the top-earning Manga of 2004), Trigun and Trigun Max are series' that will appeal to a diverse range of ages and interests; indeed, I believe this to be one of the reasons that Trigun is so great! A 14-year-old reader who likes Sci-Fi, and a 25-year-old reader into comedy will both find something they can relate to in either Trigun series.
I was able to sit down with Yasuhiro Nightow, creator of Trigun, Trigun Maximum and Gungrave for an exclusive interview! We have received many different questions for Mr. Nightow in the last couple months, and I combined many of them as my time with Mr. Nightow was limited.
Gombos: Of all the characters that you have created, which one (or ones) do you feel ‘closest to'? That is, do you have a particular character that you have created that is supposed to be a manga/anime version of yourself?
Nightow: I think that each one of my characters projects a certain part of me, but in a way, Vash is the one I associate myself with the most; I think that there he represents my determinedness and some of my more childish side.
G: In the last five years, outside of Gungrave, what has been your favorite anime or TV show broadcast in Japan?
N: I'm not sure what my American fans will think of this (and the show is hardly known even in Japan), but I am really into this show broadcast locally from Sapporo called "Suiyou dou deshou" (http://www.htb.co.jp/suidou/). It's got a real intensity to it, and it's the first TV show in a while that I have really gotten into – and having said that, I'll watch any given episode over-and-over again. It's about these two young comedian/TV ‘talents' and their directors, and the four of them get into all sorts of trouble, have all these horrifying and shocking experiences, sit around together whining, and getting thrown out of locales all over the world. It's got this real warmth that only super-low-budget shows can give to the viewer, and I find watching has this entirely relaxing effect on me. I watch this whenever I am feeling bogged-down or stressed-out.
G: One thing I've always appreciated in your work is your attention to detail in the mechanical design aspect, and the intricacy of the design in your characters' outfits. So, my question would be: Do you draw on any specific influence or reference that you use to create your futuristic mechanical designs, and, additionally, if you find the intricacy of your character designs makes it difficult to continually reproduce panel-after-panel in your drawings?
N: I've always really liked industrial design, and whenever I'm out and about I find my eyes being constantly drawn to what I'd like to consider ‘good shapes'. Like any other artist, though, I draw a lot of my inspiration from movies, toys or artists that I admire. And about the intricacy of my character designs – well, I am sure readers have noticed, but there are subtle inconsistencies in design and art in each panel. These intricacies come back to haunt me every time I notice a difference in one panel to the next, and I really wonder sometimes why I decided to make Vash and Legato so detailed (laughs).
G: How do your experiences at American Cons compare to those of Japanese ones?
N: The four days that I spend at the San Diego Comic Convention are the best four days of the year, to me. There're all these different, great creators there that have brought something to the world with all of their different styles, and so much going on, and within myself I am able re-affirm what a fun and amazing thing it is to create. And these feelings strengthen every time I go. I make sure that I get the purest experience out of the convention, and make attending SDCC as a fan a priority, which is why I always pay for all of my own expenses (laughs).
In the Japanese Manga industry, there is no event like this at all. Really, on all levels, there's no event or con that includes the fans as a part of the event on such a comprehensive and genuine level. Even if there were something so inclusive of all parts of the manga industry (of which the most important part is the fans), the authorities at the shows would be sure to keep the fans and the creators at a ‘comfortable' distance from each other. [Nightow refers not to what the creators would find to be a comfortable distance, but the way that some publishing houses tend to "isolate" their creators to maintain publication schedule.–MG]
G: Your earlier work on Trigun was very dynamic -- to the point that the layouts were hard to follow for some readers [GUILTY! –MG]. I'm looking at your most recent Trigun Maximum work, and the action is still dynamic but easier to follow. Do you think this reflects your growth and development as a storyteller?
N: OK, OK, I remember now: In English, people use the term ‘dynamic' to politely describe something that is ‘incomprehensible', right (laughs)? To be completely honest with you, the parts of Trigun Maximum that I pay special attention to and try to make easy to understand are the action scenes within the story. I have all these images running through my head of characters moving this way and that, and contorting into all sort sorts of amazing action poses, but thinking about it and putting it to paper are always two different things. If I try to get the ideas from my head to the paper without compromising the original poses or action that I had, it often comes out complicated, affecting the ‘follow-ability' of the story, as well. Also, regarding the story, I have continually been trying to build it in a logical and intuitive manner, so maybe that's why it seems like the story has become easier to follow. One thing I'd like to note: I think that in creating manga, both hemispheres of the brain are used, and the differences between the two show themselves as you create. [Common reasoning functions – including but not limited to – Like Language and Mathematics (and apparently, this includes storytelling as well) are associated with the left hemisphere, while in contrast, artistic ability (visual/music) are associated with the right. –MG]
G: What do you think of the recent Hollywood trend in superhero movies? Do you have a particularly favorite superhero movie? (I know you're a superhero fan and like American superhero comics...)
N: Since I just love watching something on the big screen that I haven't seen before, I welcome this trend with open arms. I like all superhero movies, but if I had to pick out the one that I have seen the most, it'd be the (Wesley Snipes) Blade Trilogy; I've seen all three installments countless times.
G: One more thing, where do you get those hilarious ideas for the alternative covers under the dust-jackets (of the Japanese editions) of Trigun Maximum? [These appear in the English editions as well, on the inside-front cover and the inside-back cover. – MG]
N: Just like with about everything else, I put drawing the covers off until the very last minute, and those crazy covers are literally the last of the last thing that I do on every book. That means that I generally haven't slept in days, and am basically in a zombified state when I draw those; generally, when I pass out from all of the other work, I wake up and, voila, those pictures! I think it's some form of Zen or something (grins).