• +


Katsuhiro Otomo's short film COMBUSTIBLE (火要鎮) trailer has been released in the upcoming SHORT PEACE Project official YouTube Channel. 

Official site: www.shortpeace-movie.com


OYAJISHU (親父衆) #16

Published in Shueisha's Jump X (ジャンプ改) #1
2012-XII-9 | 2 pages | B&W

Magazine available in Amazon Japan:

Read it for free in the official Jump X website::



This mook (magazine-book) that pays tribute to director Morita Yoshimitsu (森田芳光) collects the illustration Katsuhiro Otomo did to promote Yoshimitsu's  movie LIVE IN CHIGASAKI (ライブイン茅ヶ崎) released in May 2, 1978 in Japan.


Publisher: PIA (ぴあ )
Release date: 2012-XII-8
Language: Japanese
Number of pages:
Size: 28 x 20.6 x 1.8 cm
Retail price: ¥1,512
ISBN-10: 4835621638
ISBN-13: 978-4835621630


Amazon JP: http://amzn.to/2m3OGY1
Amazon US: https://amzn.to/3x9r2bI
Amazon CA:
Amazon UK: https://amzn.to/3x6N5Qz
Amazon DE: https://amzn.to/3eYds4Z
Amazon FR:
Amazon IT: https://amzn.to/3eZQdr3
Amazon ES: https://amzn.to/3eW6j4W


For over five decades and to this day, Katsuhiro Otomo has created a vast work in the fields of manga, animation, illustration and film. Otomo's world-renown came in the late 80's with the worldwide release of his manga AKIRA and the homonym animation film that he directed. Despite the international success of AKIRA, today few of Otomo's previous manga works and illustration books have been published outside Japan, remaining unknown for a big audience that we believe would probably love to know more about his artistic trajectory. 

With this chronology we want to establish a timeline of Otomo's works as a manga artist, illustrator and director as well as highlight the release of the many books and diverse media related to his works and projects. The goal of this chronology is none other than providing a comprehensive timeline of the published works of Katsuhiro Otomo and present an extensive view of his creative work.

We have organized and classified every post in this chronology with the most relevant information available, presenting the illustration works and the many manga episodes cover art as they were published for the first time in the respective magazines, posters, book sleeves etc. This way, the images are shown in the context of the graphic design in which they were published originally while we reference them to the various books in which they are collected in their raw form.

The primary sources for this chronology have been the many books we own and the extensive deepness of the Internet, specially the following websites:

We hope you enjoy ChronOtomo as much as we have enjoyed making it since we started on November 24, 2012.

For more information about this project contact us: chronotomo@aaandnn.com

About Amazon links

All over this website and on our social media profiles you will find links that take you to the products shown sold in Amazon in the various territories in which they operate.

As an Amazon Associate, AA&NN Ltd. the company behind the development of this website, that has no association with Katsuhiro Otomo, may earn a qualifying commission from your purchases. Amazon shares this small percentage of their earnings with its associates to increase the visibility of the products they offert. This commission doesn't affect the final price of the product and it gives us an extra motivation to continue creating posts and sharing them with everyone. 

We really appreciate if you buy any product following our links in Amazon, but above all, please continue supporting first the brick and mortar bookstores!


OYAJISHU (親父衆) #15

Published in Shueisha's Jump X (ジャンプ改) #12
2012-XI-10 | 2 pages | B&W

Magazine available in Amazon Japan:

Read it for free in the official Jump X website:


●INTERVIEW● Justin Sevakis & Katsuhiro Otomo

Katsuhiro Otomo at Platform International Animation Festival.
Katsuhiro Otomo Interview by Justin Sevakis, Nov 5th 2012

At the Platform International Animation Festival in Los Angeles①, Anime News Network had the chance to sit down with legendary director and manga artist Katsuhiro Otomo and ask him a few questions over breakfast.

Q: I wanted to jump right in and ask about your new project that's going to be starting in Weekly Shonen Sunday②. What made you decide to do something for younger audiences?

A: Actually it's not decided yet if I'm going to go in Shonen Sunday or not. I've been targeting the younger generation since the beginning. Now it seems like as the project is getting more geared towards older audiences. So I'm still considering whether to go with Weekly Shonen Sunday or not.

Q: I see. Is there a rough plan/timeframe for when it will be launched?

A: Well, actually, it WAS planned to launch this autumn. (laughs) Please don't ask.

Q: There was one magazine that mentioned that you were actually doing everything yourself without assistance; is that true?

A: Yes.

Q: That sounds really tough.

A: Yes, that's why it's taking some time. (laughs)

Q: Moving on to older projects: many of my favorite of your works, such as Roujin Z③ and The Order to Stop Construction④, are satire, a rarity in anime and manga. I was wondering if satire was something you find yourself gravitating towards.

A: That's totally depends on the basic idea, itself. Sometimes I get inspiration from the politics, but sometimes I get into more fantasy. Not everything in current events makes for a good story -- for example, we had a big earthquake two years ago in Japan. I was very shocked, but despite everything that happened, I'm not convinced anyone will be able to make a good work of fiction out of it. Some artists have already started drawing, but they've stuck mostly to accounts of what actually happened in Japan.

Q: Lots of veteran anime creators have talked a bit about the future of anime and manga in Japan and worried about the future. Is that something you think a lot about?

A: Yeah, I think it's getting harder and harder to become a director in Japan. Maybe some of the difficulties in the business sphere are coming from the earthquake, and everything else going on there. It's not easy to get sponsors from the corporate world for creating animation these days.

Q: Is there any hope, are you finding any bright spots in the industry?

A: Well, in spite of all the difficulties, the animators in Japan are all working hard and doing their best, so there's hope in that. Beyond that, I don't pay much attention to the trendy side of the business, so I'm really not the guy to ask.

Q: So, talking about your new work, Combustible⑤, its theme is clearly two young people who are trapped in their society, and their attempts to break free from that trap. What inspired that theme?

A: The basic theme of the storyline is fairly typical of old Japanese literature, called kabuki or joruri. For example, the story of Yaoya Oshichi⑥ is, more or less, the same basic story as Combustible. I wanted to take that old theme that we used to have in Japan 300 years ago, and describe with recent technologies, in anime form.

Q: Combustible uses a lot of modern animation techniques, but are their some methods you took from the old analog days of anime as well?

A: I like to work on both sides, with both hand-drawing and computer graphics. Back a couple years ago everyone was working only with computer graphics, using LCD tablets and the like, but now people are coming back to hand-drawing style. Some parts of the process use tablets, and coloring is still done digitally. But I'm trying to bring as much classic draftsmanship back to the craft as possible.

Q: How much of it is you, drawing directly?

A: Actually I don't do much painting. (laughs) Of course, I draw the layout and the storyboard.

Q: Since your work is so often cited by other creators, do you feel any added pressure when you release a new work?

A: No, no pressure. I really doubt people are following and referencing my work like that.

Q: Conversely, is there any creative work that has really inspired you in the last few years?

A: For another project, I had a chance to go to Las Vegas and attend the Cirque du Soleil show, Kà⑦. It made a huge impression on me, I was very impressed by it -- not just by the performances, but by the balance it struck between performance and artistry.

Q: You've had a bunch of smaller projects and a few really, really huge projects over the course of your career. Do you keep souvenirs from any of them?

A: I don't own any replicas or anything like that, if that's what you mean. But I had an art show in Japan a couple months ago in Japan that showcased Akira. The replica we made of Kaneda's motorcycle is owned by a collector in Japan, and so I borrowed it from him for a while, but I had to give it back.

Q: You just got a lifetime achievement award, but you're still pretty young, at least, by anime industry standards. Are you happy with your career up to this point? Do you feel like you still have a lot to prove? What goals do you still have?

A: I feels like I'm getting older, but I've still got a lot of things that I wants to create. But recently, I've been starting to feel the years. Except when I drink, then the energy comes out. (laughs)

Q: And I have to ask, because unfortunately we've lost a lot of great anime creators in the last few years: do you smoke?

A: Oh boy. Yeah, I started smoking again recently out of stress. I was going to use this trip as an excuse to quit, because you know, 'nobody smokes in Los Angeles,' but then I had these guys with me... (motioning to his interpreter and assistant), and they're always looking for a smoking buddy.

(to the translator and assistant) So it's YOUR fault.

(they all laugh)

Q: While you're in Los Angeles is there anything you're planning to see, or do you have just go back immediately and just go back to work?

A: Yeah, we're going straight back to Japan. We have work to do.

Q: Are there any works of yours that you feel American fans didn't get a good chance to see, that you would like them to check out?

A: Most of my manga and animation is already released in the United States, so maybe this upcoming series. Because I haven't directed many movies recently, Combustible is pretty much it, really. I've been spending most of my time on the art festival we had in Japan.

Q:Was that very successful?

A: Oh yes, very successful.

Q: I'm sure your American fans would love a chance to see some of that here.

A: That would be pretty tough with my current workload. I need more help. (laughs)

Q: Any parting words for your American fans?

A: I have a lot more things that I want to give to the US people, so please look forward to it.

Notes by ChronOtomo:

①Platform International Animation Festival in Los Angeles: http://www.platformfestival.com/

②Weekly Shonen Sunday (週刊少年サンデー ) is a Manga magazine published by Shogakukan (小学館) in Japan.http://websunday.net/

③Roujin Z (老人Z) is an animated film Written by katsuhiro Otomo (大友 克洋)and directed by Hiroyuki Kitakubo (北久保 弘之). Availability: Japan http://amzn.to/14kw6vg , UShttp://amzn.to/1262Yo5, ES http://amzn.to/1262Yo5

④The Order to Stop Construction (Kōji Chūshi Meirei - 工事中止命令) is a 1987 animation short directed by Katsuhiro Otomo that formed part of the film Meikyū Monogatari (迷宮物語) available in Japan on DVD:http://amzn.to/YnjQXe. The film is known in the US as Neo Tokyo and is available on DVD:http://amzn.to/10URWPS

⑤Combustible, is an animation short film directed by Katsuhiro Otomo as part of the SHORT PEACE movie released on July 2013. www.shortpeace-movie.com

⑥Yaoya Oshichi (八百屋お七) literally "greengrocer Oshichi" was a daughter of the greengrocer Tarobei. She lived in the Hongō neighborhood of Edo at the beginning of the Edo period. She attempted to commit arson after falling in love with a boy. This story became the subject of joruri plays. http://en.wikipedia.org/wiki/Yaoya_Oshichi

⑦Cirque du Soleil, Kà. Official site: http://goo.gl/qa2K


Katsuhiro Otomo made his first public appearance in North America in 15 years at the California Institute of the Arts' downtown center for the contemporary arts, a section of the famous Walt Disney Concert Hall known as REDCAT. He was awarded with the first ever Platform Lifetime Achievement Award. 

After the screening of Combustible, Otomo sat with the animation historian Jerry Beck along with an interpreter for an interview. Here a some fragments from the interview from the original article by Justin Sevakis.

●On where did it start for him, in terms of influences.

"I used to love manga as a kid, and wanted to become a manga artist, and when I was in high school I got into movies as well. But being a director was quite a lofty goal, so I decided to become a manga artist instead. The world of manga, as created by Osamu Tezuka ① in Japan, had its methods rooted in filmmaking, so the two weren't so different. He was able to move onto making films from that point, as well."

●On thematic pattern in his work, of tradition versus new technologies.

"I've tried to present both sides. I like new things -- movies, music, technology and such, but there's value in the past as well, so I try to be even-handed."

●On Combustible ②, is this the sort of image he had of old Japan.

"I really wanted to describe the Edo period in a movie for a long time, but it's not easy to bring the Edo period to a feature film. Hence, this short project."

●On what he said in an earlier conversation that it'd be easy for him to get funding for a new Sci-fi film, but that really isn't what he's interested in.

"Well, sure, but it's not like it'd be easy to get funding to make Sci-fi either. Recently it's become very difficult to make sci-fi films as well. The biggest challenge is that, 20 years ago, no sci-fi had people using cell phones, and now everyone has one. Something so basic to our everyday lives, and we got it wrong. Trying to imagine the future is really tough."

●On what were his influences in making The Order to Stop Construction③.

"It's a long story. It was from a novel originally. It was the first thing I directed, and the project also involved Rintaro ④ and Yoshiaki Kawajiri's ⑤ work as well. At the beginning we discussed picking up the stories from short novels, but the other two ended up changing their minds, so I was the only one left adapting fiction."

●On Akira, if it was an immediate demand to bring it to theaters, even before he were done with the manga. 

"Yes, I was asked to make it, because at the time there was a huge animation production boom. During the manga writing of Akira ⑥, I was asked to make it." 

●On if it was it given a bigger budget, or was it special in any other way as a production at the time.

"We had a huge budget. I don't remember how I got so much to work with. (laughs)".

●On of it was it a big hit in Japan as well.

"It wasn't a huge hit, really. That's my opinion, but I don't think it was such a huge hit." 

●On what happened afterwards if he had lots of producers knocking on his door. 

"I had quite a few offers, but I had my own list of things I wanted to do. I wanted to make a live action film, and someone asked me to direct one, so I did. And then someone asked me to make Akira 2, which I didn't want to do. And then Steamboy ⑦ came a long. And that took many years."

●On if he was familiar with the Hollywood remake of Akira that 's in produciton.

"Huh? Nope. I work on manga, and I work on animation. There's no need for me to be involved in that."

Audience questions:

●On his opinion on Looper ⑧:

"I was really floored by it.

●On Freedom if the project was born out of any substantial interest in space exploration in Japan at the time. 

"Actually, I wasn't the director of Freedom ⑨, that was Mr. Morita. So I have no idea."

●On if he would say that there's anything missing from animation today and what would he like to see more of.

"There's a lot to be desired in Japanese animation right now. We have a ton of animation, but it's not easy to come out with something original in that world."

●On the work of French comic artist Mœbius:

"Oh yes, I love Mœbius ⑩. There was a time when we discussed working together on something, but unfortunately, that opportunity disappeared."

●On what was it like to work on the script for the feature film version of Tezuka's Metropolis.

"When I worked on the scenario for Metropolis ⑪, I was very mindful that it was one of his very early works, so he always regarded the layout and the work in general as incomplete. So I wanted to fill in the cracks and bring it up to date."

●On the inspirations behind Akira in Gigantor ⑫.

"I read it a lot as a kid. But you really can't tell that from the resulting work, can you?" 

●On why is it hard to tell historical stories.

"We've been watching a lot of period films since the early days of Japanese film and TV. So when I go to research the Edo period, most of the the material is from other directors. Avoiding all of that and coming up with new imagery is very hard."

●On if there is any fundamental question he tries to answer with his work.

"That I want to enjoy life. But I don't have that much time left for that."

●On his current manga project:

"I don't want to tell you about the story yet, but it takes place in the Meiji era."

●On his characters, which does he personally identify with the most.

"It's very hard to say, because they're all part of me."

●On any words of advice for any of the artists here.

"Please do your best, because being an animator is one of the best jobs in the world. When I was a kid, my father asked what the hell I was doing in animation, because it wasn't a great job. But it is a great job, so please do your best at it."

●On what makes Japanese-made anime so special.

"What I believe is that, Miyazaki ⑬ and Oshii ⑭ for example, both have created their own personal worlds within their animation. I guess you could say that I have too. I don't think we could get a job in the United States, because we don't listen to other people."

●On what kind of stories do you want to tell in animation and manga these days.

"I have lots of ideas and lots of projects that I want to work on, but we haven't decided which ones yet."

●On how much is he aware of how influential his work has been to American filmmakers and animators.

"I have no words to answer your questions. I watch a lot of American movies, and all of my films reference them, so it's all just one big conversation, I guess."

●On if there is anything that's difficult to translate from manga to anime.

"The basics are the same, but what's difficult bringing manga to anime is the time limitation. Cramming everything into 2 hours is the hardest part."

●On making an epic like Akira over many years, if does his intention with the work change over the time it's being made.

"It doesn't change much, because at the beginning I storyboard everything out in advance."

●On if he would ever want to make a Samurai movie set in the future.

(He doesn't answer this one, but rather joins the audience in giggling at the question)

●On the style of art in Combustible.

"we researched a lot about the history of Japanese art, namely the emakimono ⑮ tradition. How we pass the image in front of the screen is all coming from that research."

●On how long did it take to make Combustible and what was his favorite part.

"About one year. When you see the fire, in the eyes of Owaka, is my favorite part."

●On what is his favorite stage in making a film.

"Maybe the planning stage, before development."

●On the progression of computers in animation, and he availability of new techniques.

"Memories ⑯ was the first time computers were used in Japanese animation."

●On how many animators worked on Combustible.

"There were 5-7 key animators."

●A long question about aspects of humanity portrayed in his work got an amusing but non-sequitur response:

"Uh, no. I don't have a driver's license."

●On his work been about the destruction wrought by technology, if he is scared of technology in some way or a traumatic experience in his life, perhaps.

"You might think so from my stories, but no, I'm not scared of technology."

●On what living Japanese animators does he admire most.

"My favorites are all the old ones, from back in the 1950s."

Original article by Justin Sevakis for Anime News Network

Notes by ChronOtomo:

Osamu Tezuka (手塚 治虫, born 手塚 治) (Nov. 1928 – 9 February 1989) was a Japanese cartoonistmanga writer/artistanimatorproduceractivist, and medical doctor, who never practiced medicine

Combustible, is an animation short film directed by Katsuhiro Otomo as part of the SHORT PEACE movie released on July 2013. www.shortpeace-movie.com

The Order to Stop Construction (Kōji Chūshi Meirei - 工事中止命令) is a 1987 animation short directed by Katsuhiro Otomo that formed part of the film Meikyū Monogatari (迷宮物語) available in Japan on DVD: http://amzn.to/YnjQXe. The film is known in the US as Neo Tokyo and is available on DVD: http://amzn.to/10URWPS

Rintaro (りんたろう) Born January 22, 1941 in Tokyo, Japan is the pseudonym of Shigeyuki Hayashi (林 重行 )a well-known anime director.

Yoshiaki Kawajiri (川尻 善昭) born November 18, 1950 is a critically acclaimed writer and director of Japanese animation. He is the creator of titles such as Wicked CityNinja Scroll, and Vampire Hunter D: Bloodlust.

Akira. The seminal manga an Animation movie by Katsuhiro otomo

Steamboy is a animation movie directed by katsuhiro Otomo reelased in 2004.

Looper is a live action movie directed by Rian Jhonson released in 2012.

Freedom is an Original Video animation in wich Otomo colaborated as Character and mechanical designer.

MoebiusJean Henri Gaston Giraud (8 May 1938 – 10 March 2012) was a French artist, cartoonist, and writer, who worked in the Franco-Belgian bandes dessinées tradition.

Metropolis, Is a 2001 released animation movie directed by Rintaro, based on a manga by Osamu Tezuka an in which Otomo collaborated writing the screenplay. 

Gigantor. is the American name given to Tetsujin 28 (鉄人28号) by Mitsuteru Yokoyama (横山 光輝). A manga published in Kobunsha's Shōnen Magazine from July 1956 to May 1966 and was later adapted to various anime series in the 60’s, 80’s and the last one in 2004 as well a live action film in 2005. Diverse availability: http://amzn.to/YmHaVd

Hayao Miyazaki (宮崎 駿) born on January 5, 1941 is a Japanese film director, animatormanga artist, illustrator, producer, and screenwriter. 

Mamoru Oshii (押井 守) born August 8, 1951 in Tokyo) is a Japanese filmmaker, television director, and writer.

Emakimono (絵巻物) literally 'picture scroll' often simply called emaki (絵巻), is a horizontal, illustrated narrative form created during the 11th to 16th centuries in JapanEmaki-mono combines both text and pictures, and is drawn, painted, or stamped on a handscroll. They depict battles, romance, religion, folk tales, and stories of the supernatural world.

Memories. Is three part animation film released in 1995 featuring three stories by Katsuhiro Otomo. Directed by Koji Morimoto, Tensay Okamura and Otomo himself.


OYAJISHU (親父衆) #14

Published in Shueisha's Jump X (ジャンプ改) #11
2012-X-10 | 2 pages | B&W

Magazine available in Amazon Japan

Read it for free in the official Jump X website:



Hidekazu Ohara's (小原 秀一) STUDIO AROHA has posted a pilot film produced about five years ago of the film KEIKAKU (圭角) in which Katsuhiro Otomo is credited as supervisor. Hidekazu Ohara is the original creator and director. The film never came to realization.


OYAJISHU (親父衆) #12

Published in Shueisha's Jump X (ジャンプ改) #9
2012-VIII-10 | 2 pages | B&W

Magazine available in Amazon Japan:

Read it for free in the official Jump X website:


●BOOK● EUROMANGA (ユーロマンガ) Vol.7

Euromanga volume 7 pays tribute to Moebius (Jean Giraud),  french comic artist that passed away on march 10, 2012. The book features an extensive interview with Otomo as well as the participation of manga and anime of artists such as Hayao Miyazaki (宮崎駿),   Naoki Urasawa (浦沢直樹) , Hirohiko Araki (荒木飛呂彦), Rintaro (りんたろう) , Katsuya Terada (寺田克也)  Fujiwara Kamui (藤原カムイ), Yasuhiro Naito (内藤泰弘)  Keiichi Koike (小池桂一), Osamu Kobayashi (小林治) and Range Murata (村田蓮爾)

The book includes in its entiretty the comic 'LES YEUX DU CHAT' a story written by Alejandro Jodorowsky and  illustrated by Moebius.


Publisher: Asukashinsha (飛鳥新社)
Release date: 2012-VII-23
Language: Japanese
Number of pages: 146
Size: 29.6 x 21 cm
Retail price: ¥1,890
ISBN-10: 4864101841
ISBN-13: 978-4864101844


OYAJISHU (親父衆) #11

Published in Shueisha's Jump X (ジャンプ改) #8
2012-VII-10 | 2 pages | B&W

Magazine available in Amazon Japan.

Read it for free in the official Jump X website:



Katsuhiro Otomo made a hand drawn T-shirt for the 30T (thirtee) event organized by Hisashi Eguchi (江口寿史) where 30 artist where invited to create unique T-shirts that were auctioned.


The upcoming animation movie by directors Katsuhiro Otomo (大友 克洋) and Shuhei Morita (森田 修平): SHORT PIECE's official site has been launched. Stay tuned for updates.

●MAGAZINE● ILLUSTRATION (イラストレーション) june 2012

The quarterly magazine ILLUSTRATION covers in the number of June the relationship between Katsuhiro Otomo and Katsuya Terada that share their passion for cycling as well as illustration.


Publisher: Gekonsha (玄光社)
Release date: 2012-IV-18
Language: Japanese
Number of pages: 142
Size: 27.8 x 20.8 x 1.2 cm (A4)
Retail price: ¥1,728


Amazon JP: http://amzn.to/1xqD7pD
Amazon US: http://amzn.to/1ylSK6g
Amazon CA: http://amzn.to/1JAj7pT
Amazon UK:-
Amazon DE: http://amzn.to/1aTBwCG
Amazon FR: -
Amazon IT:-
Amazon ES:-


OYAJISHU (親父衆) #10

Published in Shueisha's Jump X (ジャンプ改) #7
2012-VI-10 | 2 pages | B&W

Magazine available in Amazon Japan.

Read it for free in the official Jump X website:



Katsuhiro Otomo's Original Pictures Exhibition: GENGA-TEN covering almost all the illustrations done by Otomo in the last 40 years closes it's door today. Here a list of the artwork that where on display. The exhibition consisted on five rooms. The first one entering on the left had five walls  and four pillars in the center with four walls each covered with original illustrations. The next three  rooms contained every single page of AKIRA, Otomo's longest manga work with more than 2000 pages and in the final room there were a life size working replica of Kaneda's bike, a real size replica of the broken wall as featured in Dōmu and a huge message wall where Otomo drew the first picture and was progressively covered with the signatures and drawings by the attendants to the exhibition.

Note that the links that follow don't show the original artwork as presented in the exhibition but the final products such as books, posters, magazines etc for which they were originally conceived.

Wall A

1. KABA 書き下ろし「おもちゃ箱」扉
2. Ōkami-tachi no kōya 「狼たちの曠野」
3. Hansel & Gretel endpaper「ヘンゼルとグレーテル」見返し
5. SHINJUKU GRAPHIC MAP cut (新宿グラフィックマップ・カット)
6. SHINJUKU GRAPHIC MAP cut (新宿グラフィックマップ・カット)
7. DAZAI OSAMU NO BASHO unsused cover 「太宰治の場所」カバー(未使用)
8. DAZAI OSAMU NO BASHO cover (太宰治の場所)「太宰治の場所」カバー
10. HIGHWAY STAR「ハイウェイスター」 表1
11. HIGHWAY STAR「ハイウェイスター」 表4
12. 「SPEED」
13. Young Magazine pirated special edition" cover 「ヤングマガジン海賊版増刊」表紙
14. ROBOT CARNIVAL image board (アニメ「ロボットカーニバル」ボード)
15. ROBOT CARNIVAL POSTER 「ロボットカーニバル」ポスター
16. Young Magazine Weekly commemoration poster (ヤングマガジン週刊化記念ポスター)
17.  SAYONARA NIPPON cover (「さよならにっぽん」カバー)
18. LP DŌMU cover (LP「童夢」ジャケット)
19. LP DŌMU poster (LP「童夢」ポスター)
20. Canon CM Future City pen drawing (「未来都市」ペン画)
21. Canon CM  future city interior's initial draft (未来都市内部の初期案)
22. Canon CM Spacecraft sketch (宇宙船スケッチ)
23. Canon CM flying vehicle and character design final draft (フライングビークルとキャラクターデザインの最終案)
24. Canon CM flying vehicle and character design final draft (フライングビークルとキャラクターデザインの最終案)
25. Canon CM flying vehicle and character design complete view (フライングビークルとキャラクターデザインの完成図)
26. Canon CM Flying vehicle design (フライングビークル別デザイン)
27. Canon CM Flying vehicle design (フライングビークル別デザイン)
28. Canon CM Flying vehicle design (フライングビークル別デザイン)
29. Honda City-Turbo II イメージイラスト
30. Motor Show (モーターショー)
31. Motor Show (モーターショー)

32. Suntory Old CM mechanical design planning (サントリーオールドCM企画のためのメカニカルデザイン)
33. "Kansai electrical safety Association" CM 「関西電気保安協会」CM
34. "Kansai electrical safety Association" CM 「関西電気保安協会」CM
35. 'YOU' magazine cover planning  (雑誌「YOU」企画のための表紙)
36. YOU Tough Guy 1
37. YOU Tough Guy 2
38. YOU Hey You!
39. YOU Akkanbe 2
40. YOU Bubble Girl 1
41. YOU Bubble Girl 2
42. YOU Pink Lips 1 
43. YOU Pink Lips 2 
44. YOU Grooming 
45. YOU Tennis Girls 
46. YOU Surf Boys 
47. YOU Dancing Ladies
48. YOU Newton's Law (TV Set 1) 
49. YOU Newton's Law (TV Set 2) 
50. YOU Newton's Law (Happy Come Come Cat 1) 
51. YOU Newton's Law (Happy Come Come Cat 2) 
52. YOU Newton's Law (Happy Come Come Cat 3) 
53. YOU Newton's Law (Keyboard 1) 
54. YOU Newton's Law (Keyboard 2) 
55. YOU Hold Me Tight 2 
56. YOU Hold Me Tight 3 
57. YOU Hold Me Tight 1
58. YOU Stranger 1
59. YOU Stranger 2
60. GENMA TAISEN IMAGE BOARD (アニメ「幻魔大戦」イメージボード)
61. GENMA TAISEN IMAGE BOARD (アニメ「幻魔大戦」イメージボード)
62. GENMA TAISEN IMAGE BOARD (アニメ「幻魔大戦」イメージボード)
63. GENMA TAISEN IMAGE BOARD (アニメ「幻魔大戦」イメージボード)


Wall B

1. Suika Meshia (スイカメシア)
2. Suika Meshia (スイカメシア)
3. Suika Meshia (スイカメシア)
4. Suika Meshia (スイカメシア)
5. Suika Meshia (スイカメシア)
6. KABA cover「KABA」カバー
7. 「KABA」書き下ろし
8. 「KABA」書き下ろし
9. KABA 2 cover (KABA2 表紙)
10. 「KABA」カバードラフト
11. 「コンピューター・ネットワークの時代」挿絵
12. 「ライト兄弟の時代」挿絵
13. 「ロシア革命の時代」挿絵
14. TOKYO COWBOY novel case (小説「東京カウボーイ」カバーケース挿絵)
15. KANOJO NO OMOIDE panel「彼女の想いで…」カバー 表1
16. KANOJO NO OMOIDE panel4「彼女の想いで…」カバー 表4
17. MEGAMEX character illustration (メガミックス キャラクターイメージ)
18. SOS TAITOKYO TANKENTAI sleeves「SOS 大東京探検隊」 表1
19. SOS TAITOKYO TANKENTAI sleeves「SOS 大東京探検隊」 袖
20. SOS TAITOKYO TANKENTAI sleeves「SOS 大東京探検隊」 表4
21. SOS TAITOKYO TANKENTAI sleeves「SOS 大東京探検隊」 袖
22. ADIDAS MANGA FEVER (アディダスマンガフィーバー)
23. 「LEGENDS OF ARZACH Gallery One」
24. BAKUMATSU SODE GARAMI cover 小説「幕末袖がらみ」
25. NUKARUNDEKARA cover 小説「ぬかるんでから」
26. Animage 2001: Space Odissey (アニメージュ「2001年宇宙の旅」)
27. 石野卓球「LOVE DUBS DUB」
28. 石野卓球「LOVE DUBS DUB」
29. オービタルエラ P1
30. オービタルエラ P2
31. オービタルエラ P3
32. オービタルエラ P4-1
33. オービタルエラ P4-2
34. Hyper Angle Pose Collection SP Phantom「ハイパーアングルポーズ集 SP 怪人」
35. GIRLY magazine cover illustration (別冊フレンド増刊「Girly」 vol.1 カバーイラスト)
36. 'Kibun wa Mō Sensō' Novel cover (小説「気分はもう戦争」カバー)
37. Young MAgazine KINTARO (ヤングマガジン「魁童金魚に乗りて波ヲ渡乃図」)
38. JR Kichijoji Station 100 Anniversary card set 「JR吉祥寺駅100周年記念カードセット」
39. SPRIGGAN poster illustration 「スプリガン」ポスターイラスト
40. Game Magazine 'HAŌ' first issue cover illustration (ゲーム雑誌「覇王」創刊号カバーイラスト)
41. OSYARE HANDLE (おしゃれハンドル) No.55
42. OSYARE HANDLE (おしゃれハンドル)
43. OSYARE HANDLE (おしゃれハンドル)
44. OSYARE HANDLE (おしゃれハンドル)
45. OSYARE HANDLE (おしゃれハンドル)
46. VIVA EL CICLISSIMO team album「ビバイルチクリッシモ」ファンチーム
47. OSYARE HANDLE (おしゃれハンドル)
48. VIVA EL CICLISSIMO「ビバイルチクリッシモ」多摩川
49. VIVA EL CICLISSIMO cover1「ビバイルチクリッシモ」 表紙1
50. VIVA EL CICLISSIMO cover 2「ビバイルチクリッシモ」 表紙2
51. VIVA EL CICLISSIMO 「ビバイルチクリッシモ」カンチェラーラ
52. VIVA EL CICLISSIMO 「ビバイルチクリッシモ」チームTT スタート
53. VIVA EL CICLISSIMO 「ビバイルチクリッシモ」車内から
54.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」カラビリエ
55.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」城壁左
56.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」フェリー
57.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」
58.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」城壁右
59.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」空母
60.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」ジェノバ
61.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」プリアンソン
62.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」ミラノ周回
63.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」山頂ゴール
64.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」ドロミテ
65.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」ミラノゴール
66.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」ミラノゴール
67.VIVA EL CICLISSIMO 「ビバイルチクリッシモ」ミラノホテル

Wall C

1. Tarzan (2011, 10) cover illustration (カバーイラスト)
2. Tarzan (2008, 10) cover illustration (カバーイラスト)
3. Tarzan (2009, 10) 本文イラスト
4. Tarzan (2010, 10) 本文イラスト
5. Cyclemode 2010 (サイクルモードインターナショナル2010 メインビジュアル)
6. Tarzan (2009, 10) cover illustration (カバーイラスト)
7. Tarzan (2010, 10) cover illustration (カバーイラスト)
8. Atre Kichijoji grand opening poster (アトレ吉祥寺グランドオープンポスター)
9. BRUTUS (2007, 1月1・15日合併号)
10. Oyajishu #1 (親父衆 第1会扉)
11. Volvic CM visual key (ヴォルビック CM キービジュアル)
12. MONOマガジン 自転車特集 扉イラスト
13. STEAMBOY initial promotional poster image illustration (STEAMBOY 初期宣伝用ポスター用イメージイラスト)
16. STEAMBOY e-Konte Book cover (STEAMBOY 絵コンテ集カバーイラスト)
17. STEAMBOY Advance ticket benefit illustration (STEAMBOY 前売りチケット 特典イラス)
18. STEAMBOY DVD BOX package back (パッケージ裏)
19. STEAMBOY initial image board (初期イメージボード)
20. STEAMBOY initial image board (初期イメージボード)
21. 大砲の街 砲撃手の絵
22. 大砲の街 17番砲台
23. 大砲の街 少年の家
24. 大砲の街 居間キャラ
25. 大砲の街 玄関
26. 大砲の街 廊下
27. 大砲の街 居間
28. 大砲の街 少年の部屋
29. 大砲の街 街遠景
30. 大砲の街 地上
31. 大砲の街 街遠景/駅/階段
32. 大砲の街 更衣室
33. 大砲の街 教室
34. 大砲の街 キッチン
35. THE MEMORY OF MEMORIES cover illustration ( カバーイラスト)
36. 大砲の街 少年の部屋

Wall D

1. 単行本「AKIRA」第1巻 口絵
2. 単行本「AKIRA」第1巻 口絵
3. 単行本「AKIRA」第1巻 口絵
4. 単行本「AKIRA」第1巻 口絵
5. 単行本「AKIRA」第1巻 口絵
6. 単行本「AKIRA」第1巻 口絵
7. 「AKIRA」連載2回 カラー扉
8. 「AKIRA」連載10回 カラー口絵
9. 「AKIRA」連載10回 カラー口絵
10. 「AKIRA」連載10回 カラー口絵
11. 「AKIRA」連載10回 カラー口絵
12. 「AKIRA」連載18回 カラー扉
13. 単行本「AKIRA」第2巻 口絵
14. 単行本「AKIRA」第2巻 口絵
15. 「AKIRA」連載23回 カラー扉
16. 「AKIRA」連載23回 カラー口絵
17. 「AKIRA」連載23回 カラー口絵
18. 「AKIRA」連載23回 カラー口絵
19. 「AKIRA」連載28回 カラー扉
20. 「AKIRA」連載32回 カラー口絵
21. 「AKIRA」連載32回 カラー扉
22. 「AKIRA」連載32回 カラー口絵
23. 単行本「AKIRA」第3巻 口絵
24. 単行本「AKIRA」第3巻 口絵
25. 単行本「AKIRA」第3巻 口絵
26. 単行本「AKIRA」第4巻 口絵
27. 単行本「AKIRA」第4巻 口絵
28. 単行本「AKIRA」第4巻 口絵
29. 単行本「AKIRA」第5巻 口絵
30. 単行本「AKIRA」第5巻 口絵
31. 単行本「AKIRA」第5巻 口絵
32. 単行本「AKIRA」第6巻 口絵
33. 単行本「AKIRA」第6巻 口絵
34. 単行本「AKIRA」第6巻 口絵
35. 単行本「AKIRA」第6巻 口絵
36. Anime Comic AKIRA 1 (アニメコミック 1巻)
37. Anime Comic AKIRA 2 (アニメコミック 2巻)
38. Anime Comic AKIRA 3 (アニメコミック 3巻)
39. Anime Comic AKIRA 4 (アニメコミック 4巻)
40. Anime Comic AKIRA 5 (アニメコミック 5巻)
41. Young Magazine cover (ヤングマガジン表紙)
42. Young Magazine cover (ヤングマガジン表紙)
43. Young Magazine cover (ヤングマガジン表紙)
44. AKIRA Laser Disc (「AKIRA」 レーザーディスク)
45.  Special Collection AKIRA「スペシャルコレクション AKIRA」
46. YOUNG MAGAZINE COVER (ヤングマガジン表紙)
47. Anime Video AKIRA poster (アニメビデオ「AKIRA」ポスター)
48. Anime Video AKIRA poster (アニメビデオ「AKIRA」ポスター)

Wall E

1. AKIRA BOOK 1 COVER (単行本「AKIRA」第1巻カバー)
2. AKIRA BOOK 2 COVER (単行本「AKIRA」第2巻カバー)
3. AKIRA BOOK 3 COVER (単行本「AKIRA」第3巻カバー)
4. AKIRA BOOK 4 COVER (単行本「AKIRA」第4巻カバー)
5. AKIRA BOOK 5 COVER (単行本「AKIRA」第5巻カバー)
6. AKIRA BOOK 6 COVER (単行本「AKIRA」第6巻カバー)

Pillar No. 1

· AI NO KAIKAKU 2 CHOME 3「愛の街角二丁目三番地」
· AME LINGO「アメリンゴ」

EAST:HIGHWAY STAR『ハイウェイスター』(18 pieces)
· SUKA TO SUKKIRI「スカッとスッキリ」
· HIGHWAY STAR 「ハイウェイスター」
· SEISOO「星霜」

SOUTH:SHORT PEACE『ショートピース』 (18 pieces)
·  UCHUU PATROL SHIGEMA 「宇宙パトロールシゲマ」
·「School-boy on good time」
· TAI...KYOO「大麻境」
· YUME NO SŌKYŪ 「夢の蒼穹」
· OKASU「犯す」

WEST (17 pieces)
· JŪSEI「銃声」
· 「親友」
· 「子供たちは何処へ」

Pillar No. 2

· 「G...」

EAST:HANSEL & GRETEL『ヘンゼルとグレーテル』 (18 pieces)
· Hansel & Gretel「ヘンゼルとグレーテル」
· SHAKUZU「赤頭巾」
· AOI TORI「青い鳥」
· 「I.N.R.I」

· SHINJŪ「心中」
· 「ROCK」

WEST:SAYŌNARA NIPPON『さよならにっぽん』 (18 pieces)
· 「East of The Sun, West of The Moon」
· 「A荘殺人事件」

Pillar No. 3

NORTH:KANOJO NO OMOIDE『彼女の想いで…』 (17 pieces)
· BUKI YO SARABA「武器よさらば」
· 「HAIR」
· 「Electric Bird Land」
· 「Fire-ball」

EAST:MANJU KOWAI『饅頭こわい』(9 pieces)

KIBUN WA MŌ SENSŌ『気分はもう戦争』(18 pieces)


· SUN BURG HILL NO OMOIDE「サン・バーグズヒルの想い出」
· UE O MUITEARUKOU「上を向いて歩こう」

Pillar No. 4

NORTH: (18 pieces)
· Ginga tōzoku biryi areguro 「銀河盗賊ビリィ・アレグロ」
· AZARASHI「アザラシ」
· Tabako o suu saru 「煙草を吸うサル」
· 「HONDA ブルドック」CMラフ
· Watashi no himitsu kichi 「私の秘密基地」
· 「CANON」CM キャラクターラフ
· 「東京スカパラダイスオーケストラ」
· 「サントリー キリコ」CM

EAST:DŌMU『童夢』 (15 pieces)

SOUTH:DŌMU『童夢』 (16 pieces)


AKIRA rooms

· AKIRA 1巻(原画)
· AKIRA 2巻(原画)
· AKIRA 3巻(原画)
· AKIRA 4巻(原画)
· AKIRA 5巻(原画)
· AKIRA 6巻(原画)
· AKIRA 連載扉絵(原画)
· AKIRA BIKE(上記のバイクコーナーです)
· DOME WALL(上記の「ズン壁」です)

· MESSAGE WALL(来場者の方が自由にメッセージ等を残せる場所です)