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Miura: It's so long ago that I can't even make an approximate estimation. I guess it's around my kindergarten years since I drew for the first time in my life before I entered an elementary school. I really don't remember the very first moment. All I can remember is that I drew manga first on a notebook for university students during the second grade in elementary school.It was some kind of revelation. To please others or to receive praise by drawing was the happiest thing in my youth. I guess \"old habits die hard\". My family moved quite often at that time. My drawings enabled me to make new friends in the schools I shifted to. Now that I think of it, it was a time when I already established my identity as a drawer in a way. [Laughs.]
Meanwhile I was one of a group of five friends whose goal was to be mangaka. All of them had their own specialty other than drawing manga, like playing the guitar for example. We influenced and introduced each other saying things like \"the ongoing movie is enjoyable\" or \"it's good to read this book\"... \"Otherwise, you won't be able to be a mangaka\"; this represented well how the group was.
There was a thing that today's high school students can't understand: in my days, friends were also some kind of rivals. So I wanted to look great to the others. What should I do to look great I had to watch movies and read books. Repeating this, I learned that manga isn't only about drawing. I acquired the ability to conceive a story while I was a university student. Precisely speaking, when I entered for a prize in my university days.
Miura: Berserk is my very first comic book and anime. So I was very excited, and I wanted to make something good. I could've just let the studio staff do the work, but I gave some advice on the outlines of the character designs. But my main concern was the scripts. They'd send me the scripts and I'd revise them and make changes. I checked all scripts, and made a lot of changes and requests on all of them. I bet the writers hated me.
Miura: There's no time, so I have to choose materials that are exemplary or whatever. Researching down to the details is impossible unless you go at it using human-wave tactics. Furthermore, in my case I'm focusing more on the author's conclusions as I cursorily read a book for its theme and information. Like, for the witch hunt in the Conviction arc, what kind of thing does the author of these materials think witch hunts were I read two or three books for the Conviction arc, but what I learned from them was that witch hunts represented an unseen fear in the Middle Ages that people collectively embodied. When people experienced fear, they ended up manifesting it, and a group manifestation would turn into a witch hunt.
Miura: I depicted witch trials during the Conviction arc, so I was going to end up having to do witches and magic. I went in search of lots of reference books on magic, and amongst them was a book written by someone claiming to be a real magician. It sounds shady at first, but there are magic users overseas and they have the authoritative opinions on the subject. I thought I'd faithfully portray the way a real magician conceptualizes magic. In Japan, the game-like magic where you throw fireballs and such is typical, but naturally there's a concept out there in the world of actual \"magic.\" This gets a little off-topic, but I heard this once in some documentary: \"If you want to make a movie that rivals Star Wars, you can't watch Star Wars. Go watch what George Lucas was watching for the purpose of making Star Wars.\" Follow what's already been depicted, and you might just end up with an inferior copy.
Miura: It's an unfortunate business, I can't enjoy what I create. I look back at the books as reference material for my writing, but I don't read through them often. I probably won't be able to reflect on my work until many years after the serialization of Berserk is finished.
Miura: The management and selection of drawings are entirely up to my staff. However, I can assure you that not a single drawing has been skimped on, so I can guarantee the quality of the exhibition. As for myself, I would be embarrassed to hold an exhibition, but ... (laughs). I have one request: since manga artists are mainly engaged in the business of black-and-white manuscripts rather than color, I would like to see the black-and-white manuscripts that I usually draw the most exhibited as much as possible. I would like visitors to enjoy the details of the raw manuscripts, the white corrections, and other aspects of the manuscripts that cannot be seen in the book.
Miura: It is not that dramatic. The nature of color illustrations for manga is that they are used for book covers and magazine covers, so there is a limit to what can be drawn. The space available is surprisingly limited because of the logo and title, and in the case of a volume, the illustration has to be eye-catching in the bookstore. So I end up filling up most of the screen with characters. Many manga artists try to draw the main characters of the book as large as possible. I have always liked the oil painting style of Frank Frazetta and Noriyoshi Ohrai, so my coloring style is in the same vein as their drawings. In the beginning, I used oil paints, but they dried very slowly, so I painted on canvas by base coating with oil-based paint, and then painted with semi-transparent Liquitex. However, if I tried to create subtle gradations with this method, it would take a long time to paint over and over again. In other words, it was difficult to create skin tones for children and girls and was not suitable for cute characters. I ended up creating drawings of characters with a strong sense of power, like Guts. Nowadays, I can say that this is part of my taste.
Miura: If manga is continued for a long time, there is bound to be inflation of characters and techniques, but this inflation needs to be controlled. In a weekly serialization, the manga may be drawn with a lot of momentum, and it may become difficult to keep up at the end. That is why I try to keep inflation as low as possible. In Berserk, there are two major inflationary events: the time when magic is introduced, and the time when the berserker armor is introduced. In both cases, the parts of Berserk that we have been focusing on until now are taken to the next stage. When magic appears, the worldview changes, and when Guts moves in an unusual manner in the berserker armor, he deviates one step from the \"human physical senses\" that we have been depicting until now. We have to be aware of this and create some inflation. The color paintings I just mentioned were done when I felt that the inflation had worked and I had a good response. The calendar drawings and card game drawings that I did with light colors are also memorable because they are different from my usual color drawings. I enjoyed being able to draw scenes of Guts and his friends in their everyday lives without being bound by the restrictions of a book, and for a while, I even drew light-colored pictures on the backs of the magazine's pinups. I wanted to draw travel scenes with these drawings because they are suited to depicting everyday scenes.
Miura: What sticks in my mind the most is when the manga became a hit when it was first made into an anime (Kenpu Denki Berserk in 1997) and I saw a stack of copies of the manga in a local bookstore. It felt somewhat fluffy and unreal. I think it is a truly lucky thing for a manga artist to have such an experience, and I will never forget it.
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