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●EXHIBITION● OTOMO KATSUHIRO GENGA-TEN「大友克洋GENGA展」List of works




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
4. RIKKYO UNIVERSITY YEARBOOK (立教大アルバム用イラスト)
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
9. ROCK BAND (ロックバンド「METROFARCE」)
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)
64. GENMA TASIEN PAPERBACK COVER (幻魔大戦文庫カバー)
65. GENMA TASIEN PAPERBACK COVER (幻魔大戦文庫カバー)
66. GENMA TASIEN PAPERBACK COVER (幻魔大戦文庫カバー)
67. GENMA TASIEN PAPERBACK COVER (幻魔大戦文庫カバー)
68. GENMA TASIEN PAPERBACK COVER (幻魔大戦文庫カバー)
69. GENMA TASIEN PAPERBACK COVER (幻魔大戦文庫カバー)
70. GENMA TASIEN PAPERBACK COVER (幻魔大戦文庫カバー)
71. GENMA TASIEN PAPERBACK COVER (幻魔大戦文庫カバー)
72. GENMA TASIEN PAPERBACK COVER (幻魔大戦文庫カバー)


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)
14. STEAMBOY DVD BOX パッケージ表
15. STEAMBOY DVD BOX パッケージ背
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)
49. DVD 「AKIRA DVD SPECIAL EDITION」

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

NORTH：『GOOD WEATHER』（18 pages）
· CHUCK CHECK CHICKEN
· SINCHO SENKI「信長戦記」
· AI NO KAIKAKU 2 CHOME 3「愛の街角二丁目三番地」
· KATSUKARE「カツ丼」
· SO WHAT
· AME LINGO「アメリンゴ」
· BOOGIE WOOGIE WALTZ
· TŌI MATSURI「遠い祭り」
· KAGAMI JIGOKU「鏡地獄」

 EAST：HIGHWAY STAR『ハイウェイスター』（18 pieces）
· SUKA TO SUKKIRI「スカッとスッキリ」
· SHUSEI SANCHI NO YUKI CHAN「酒井さんちのユキエちゃん」
· HIGHWAY STAR 「ハイウェイスター」
· TENMOO NISHITE MORASAZU「天網恢恢疎にして漏らさず」
· TSUYA NO ATOSAKI「つやのあとさき」
· 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」
·「'ROUND ABOUT MIDNIGHT」
·「School-boy on good time」
· TAI...KYOO「大麻境」
·「WHISKY-GO-GO」
·「NOTHING WILL BE AS IT WAS」
· YUME NO SŌKYŪ 「夢の蒼穹」
· OKASU「犯す」

WEST　（17 pieces）
·MACCHI URO NO SHŌJO「マッチ売りの少女」
· JŪSEI「銃声」
· 「親友」
· HASHI TO SOSHITE「橋とそして」
· 「子供たちは何処へ」
·「ONE DOWN」
· MITSURYŌ NO YORU「密猟の夜」

Pillar No. 2

 NORTH：（計15点）
· 「G...」
· 「APPLE PARADISE」

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」
· FUSHIGIGI NO KOKU NO ARISU「不思議の国のアリス」
· ARIBABA TO JOYŪNIN NO TOZOKU「アリババと四十人の盗賊」
· HAKUGEI「白鯨」
· AOI TORI「青い鳥」
· 「DON QUIJOTE」
· 「I.N.R.I」

SOUTH：『BOOGIE WOOGIE WALTZ』　（18 pieces）
· 「BOOGIE WOOGIE WALTZ」
· MEZAMEYO TO YOBU KOE ARI「目覚めよと呼ぶ声あり」
· SHINJŪ「心中」
· PAKKU KUSO OMOSHIROKU MO NAKATTA KYŌ NO OWARI 「パック　糞面白くもなかった今日の終わりに」
· SHUAKU NO KISHIMI「醜悪の軋み」
· CHUNPARABUGIUGICHUNPARABUGI 「チュンパラブギウギチュンパラブギ」
· 「ROCK」
· KAGAMI「鏡」

WEST：SAYŌNARA NIPPON『さよならにっぽん』　（18 pieces）
· 「East of The Sun, West of The Moon」
· SAYŌNARA NIPPON「さよならにっぽん」
· SEIJAGA MACHINI YATTEKIRU「聖者が街にやってくる」
· 「Ａ荘殺人事件」


 Pillar No. 3

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


EAST：MANJU KOWAI『饅頭こわい』（9 pieces）

SOUTH：KIBUN WA MŌ SENSŌ『気分はもう戦争』（18 pieces）

WEST：SOS TAITOKYO TANKENTAI『SOS大東京探検隊』（10 pieces）
· SUN BURG HILL NO OMOIDE「サン・バーグズヒルの想い出」
· SOS TAITOKYO TANKENTAI「SOS大東京探検隊」
· UE O MUITEARUKOU「上を向いて歩こう」
· ABUNAI! SEITO KAICHOO「危ない！生徒会長」
· SPEED

Pillar No. 4
NORTH：　（18 pieces）
· YOROINU「鎧犬」
· 「KEIO SF CLUB」
· 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）

 WEST：『BATMAN THE THIRD MASK 』 『DJ TECKのMORNING ATTACK』　（18 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）


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●ILLUSTRATED ESSAY● OYAJISHU (親父衆) #9


OYAJISHU (親父衆) #9
Published in Shueisha's Jump X (ジャンプ改) #6
2012-V-10 | 2 pages | B&W

Read it for free in the official Jump X website:
http://jumpx.jp/sp/oyaji/009.html

Magazine available in Amazon Japan
http://amzn.to/ZD7Ht9

COLLECTED IN THE BOOK:
●OYAJISHU (親父衆)


Ad by AA&NN Ltd.

●SIGNATURE● CYCLING


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●SIGNATURE● GENGA GRAFFITY




Katsuhiro Otomo has left this signed drawing in the signature wall of his GENGA-TEN exhibition that took place in 3331 Arts Chiyoda in Tokyo from April 4, 2012 to may 30, 2012.

●BOOK● GENGA - OTOMO KATSUHIRO ORIGINAL PICTURES








The official book of the recent Otomo Katsuhiro Exhibition GENGA-TEN where, for the very first time, the original illustrations and comic works drawn by Katsuhiro Otomo will be exhibited.

BOOK DESCRIPTION
The complete works of Katsuhiro Otomo, one of Japan’s most celebrated manga artists, spanning his debut to the present. Katsuhiro Otomo is one of the most respected and influential Japanese artists/storytellers in the history of modern comics. He has also worked extensively in animation including his own, hugely successful adaptation of his epic manga, Akira, which is widely considered to be a pinnacle of the form—a work of astonishing power and visionary scope, with unsurpassed artistry. This book is a catalogue for his first major exhibition, GENGA, which included his original drawings from his debut to the present, held in Tokyo from April 9 to May 30, 2012. The book contains full-size illustrations of all the works featured in the exhibition, as well as preliminary sketches, production drawings, and the domestic advertising pieces that are rarely seen outside of Japan. The book also contains interviews and conversations with some of the most famous Japanese film directors and manga artists, such as Akira Kurosawa, Sogo Ishii, and more.

BOOK DETAILS
Publisher: PIE international (パイインターナショナル)
Release Date: 2012-IV-23
Language: Japanese
Number of pages: 256
Size: 10.1 x 0.8 x 14.3 inches (B4)
Retail price: ￥ 5,040
ISBN-10: 4756242731
ISBN-13: 978-4756242730

AVAILABILITY
Amazon JP:http://amzn.to/TouTeq
Amazon US:http://amzn.to/163Cc4v
Amazon CA: http://amzn.to/1zVBlOU
Amazon UK:http://amzn.to/18cC7Ka
Amazon DE:http://amzn.to/1hPMl4C
Amazon FR:http://amzn.to/18cBUXo
Amazon IT:http://amzn.to/19EW8cX
Amazon ES: http://amzn.to/1muNVe1

●CHARACTER DESIGN● VOLVIC COMMERCIAL




Katsuhiro Otomo was in charge of the Character designs for this Volvic water commercial aired in the Japanese TV. 

Official Studio 4c website:

CM DETAILS
Brand: Volvic
Original name: ボルヴィックCM『飲む自然』篇
Animation STUDIO4℃
Directed by Hidekazu Ohara (小原 秀一)
Character designs by Katsuhiro Otomo (大友克洋)

●MAGAZINE● BRUTUS - Katsuhiro Otomo REBOOT





Brutus Magazine covers Otomo Katsuhiro's impact on manga and anime world just in time for the upcoming GENGA-TEN exhibition

MAGAZINE DETAILS
Publisher: Magazine House (マガジンハウス)
Release date: 2012-IV-15
Language: Japanese
Number of pages: 130
Size: 28 x 20.4 x 1 cm
Retail price: ￥650

AVAILABILITY
Amazon JP: http://amzn.to/WqDNGQ


OTHER JAPANESE EDITIONS:
Most of the material from this magazine was collected on the book issue:
●BRUTUS Special Edition [Single Volume - Katsuhiro Otomo]
 

●CONVERSATION● Takehiko Inoue & Katsuhiro Otomo



This conversation was published in april 2012 issue of BRUTUS magazine and later republished in a BRUTUS special edition issue in January 2014. The text that follows was translated by Mangahakuran in his blog, where you can find really interesting manga and anime related translations to english. Check them out.



Inoue: This is where they’re going to hold the exhibition?

Otomo: This is it. I thought it was too big at first, but I found that once you set everything up it’ll actually get pretty full. You never know until you actually try, I suppose.

Inoue: So if you’re doing this exhibit with Akira① in its entirety, how many pages does that work out to?

Otomo: Should add up to be about 2300, I think.

Inoue: The books themselves came as such a shock, you know — like, “Wow, so manga can come in this form!” They’re really creative. I’d only ever read shonen manga until my last year of high school, so reading your work for that first time blew my mind. “Holy crap! This is manga for adults!”

Otomo: What was it you read first?

Inoue: Dōmu ②. It was like the door to this whole other world had been opened.

Otomo: Part of it would’ve been just a matter of you reading it at the right time. When my generation started making manga in the 70s, we were reading Ashita no Joe ③ and Kyojin no Hoshi ④, and the stories just kept getting darker. Even in other genres, it was a weird time: Film had its new wave, drama had Shuji Terayama ⑤ and the Black Tent Troupe ⑥. In the midst of all that, it was inevitable that manga similarly become dark and moody too.

Editor: And then Akira started its run at the end of ’82, when you would have been 28, Otomo.

Otomo: Where were you in your career at 28?

Inoue: I would’ve been working on the end of Slam Dunk ⑦.

Otomo: I was working on Domu, which I did just before Akira, when I was trying to figure out how to give my manga a cinematic look. I guess that’s basically where my head was at when I was 27 or 28: wanting to experiment with my technique more. It was also around the time I was starting to not have to take out so many advance loans. (laugh) I could go out to have a drink like normal people. Did you ever work as an assistant?

Inoue: I worked for Tsukasa Hojo doing City Hunter ⑧ for about ten months.

Otomo: Would that have been in Kichijoji? We would’ve passed by each other at some point, then. [Note: Otomo lives in Kichijoji.] When did Slam Dunk start?

Inoue: 1990. I’m a pretty simple-minded person, so my inspiration in starting it wasn’t anything more complicated than the idea that basketball was fun. It was essentially my first series — I technically had one before it, but that got the axe after 12 weeks. It was a time where I just kept getting better at it as I went along, learning how to do more and more things. It was really fun. Then I came to the final match, though, and I still had things I wanted to do, so I guess I started to struggle a bit around then… but I’d made up my mind that I’d throw everything I had into the final match, and really I mostly just remember the whole experience as being fun.

Otomo: That sounds great — having fun, and becoming good at drawing. Doing a weekly series is brutal, though, isn’t it?

Inoue: Yeah, I really can’t pull it off anymore.

Otomo: How many days did it take you to do a chapter of Slam Dunk?

Inoue: Well, it was 19 pages per week…

Otomo: So you’d take about five days, I imagine.

Inoue: Was Akira weekly?

Otomo: Biweekly, but I was doing it alongside the production for the film too, so I was actually doing 20 pages in a week.

Inoue: Whoa, that’s crazy.

Otomo: I used to finish with the manga, then head to the animation studio — on no sleep — and work on the film. That time in my life has to have been the peak of my physical energy. (laugh)

Editor: How many people did you have drawing it with you?

Otomo: I had two assistants.

Inoue: Two?!

Otomo: Plus a third one sometimes who used to come and do the screentoner.

Inoue: I do remember hearing that you drew a lot of the backgrounds yourself. Is that true?

Otomo: More than you’d think, yes. (laugh)

Inoue: They’re so detailed, though! That’s incredible…

Otomo: I’ve gone back and looked at the old art because of this whole exhibit thing, and I have to say that looking at it now, it’s embarrassing.

Inoue: Were you impressed by anything in it?

Otomo: Hmm, I don’t know. I guess I thought I was clearly trying hard, anyway. (laugh)

Inoue: Believe me, you did more than just try. What year was it that you first got published?

Otomo: ’73, I think it was. It was a piece I’d drawn after coming out to Tokyo, but the art was really dated. For the next year after that, my art style kept changing. That was kind of fun.

Inoue: Did you do any time as an assistant?

Otomo: I went to help people out sometimes, but I was never really an assistant. I absorbed stuff here and there, and after two or three years I’d reached a certain point. A pretty fun time, even looking back at it.

Inoue: Will your art from back then be in the exhibit?

Otomo: Yes, I’m putting it out there, almost out of masochism. (laugh) Do you still have your first published manga?

Inoue: Hidden deep somewhere, yes. (laugh)

Otomo: See, you don’t ever look at it, right?

Inoue: Never. Displaying that really would be downright masochistic. If I ever feel the need to inflict some sort of horrible punishment on myself, maybe I would open it up.

Otomo: One always makes tweaks here and there in one’s art as you go on drawing, so the art keeps evolving. All you have to do is buckle down while you’re young and draw as much as you can, and you’ll get really good at it. Manga these days, though, is drawn with symbols — predetermined symbols that people just arrange on the page. That’s not really drawing, and I don’t think someone can make any real breakthroughs that way. It’s important to actually look at things and draw them, I think.

Editor: What do you think of Inoue’s art?

Otomo: Thanks to so many great artists like him showing up, I feel like I can just step down and leave them to it. (laugh)

Inoue: Let’s not be too hasty, now. (laugh)

Editor: Is there a moment when you truly feel that you’ve improved? What’s your definition of good artwork?

Inoue: Oh, I’m not any good. At all.

Otomo: This conversation won’t get anywhere if the two of us insist that neither of us are good artists. (laugh)

Inoue: Hmmm. I think maybe the moment is is when the art stops being so hard, and sort of softens up. In my case, I started out at a really low level (laugh), and I think the process I went through was going from really hard and flat to something softer and more three-dimensional. My manga was pretty simplistic in terms of composition, too, but then I learned to draw from all sorts of different perspectives. It kept me wanting to draw, basically; it kept me from getting sick of it.

Otomo: Eventually you hit a point where you feel really free, don’t you? Like you can draw anything the way you want. Drawing for a long time helps you see things you didn’t see before, in terms of composition, in terms of poses.

Inoue: What was your experience with doing machinery?

Otomo: I liked machines. It was as simple as that. I like busy, convoluted stuff.

Inoue: I absolutely cannot do mechanical things. I don’t have the imagination for it. I was the kind of kid who used to play outside — never did make plastic models or any of that.

Editor: What about skyscrapers?

Inoue: Skyscrapers are something that actually exist, so I can just tell my assistants to go draw them. (laugh) Things that actually exist, I can do. But Otomo makes all kinds of vehicles and stuff that aren’t even real, which is a whole other ballgame.

Otomo: But the manga I’m making now is set in the mountains during the Meiji period, so there’s no machinery in it. I’m having trouble doing wild boars at the moment. There aren’t too many collections of photographs of boars out there, so I have to actually go out to see the real thing. Animals are really tough. Trees and water, too.

Inoue: Agreed. (laugh)

Otomo: Plus, I don’t have any assistants.

Inoue: (laugh) I’m resuming Vagabond ⑨ soon. It’s already been decided which issue of the magazine it’ll be, though I didn’t want to announce anything until I’d actually finished drawing it.

Otomo: I’m sort of letting the pages build up for now before I start to publish it, which means I don’t have any deadlines for X amount of pages within Y number of days, so it’s not too bad. I’ve been out of the game for a while, so I need to rehabilitate myself, too.

Inoue: Ah, so you do need rehabilitation. Sometimes after I take a break for a while and then go back to drawing, I’ll be producing some pretty mediocre art for a while before I start to feel like I’ve regained that touch, which is always a relief when it happens.

Otomo: I even just need time getting used to using a pen. I haven’t been using one for quite a while.

Inoue: That sounds so nice, having to get used to using a pen. It’s like you’re brand new to the job.

Otomo: Pens are tricky. I mean, I’ve still been drawing the whole time, but manga pens — they’re tricky. Part of it is the fact that I use a mapping pen ⑩, which is an especially uncooperative type of pen that even I kind of hate the idea of having to draw with again.

Editor: Both of you have had your works translated and brought over to other countries, but Akira was a real pioneer in that respect.

Otomo: It was a lot of work having to flip the pages around for the American version.

Inoue: It seems to me they use the Japanese-style right-to-left format now, though.

Otomo: Yes, lately I hear that they want to publish manga in their original form, but it wasn’t that long ago that they simply wouldn’t have it. America in particular used to go on about how they have their way of reading comics. Europe was okay with using the Japanese style, though.

Inoue: Another change is the shift toward e-books. Even the monthly Shonen Jump ⑪ magazine they were putting out in America has recently stopped being published [and a weekly digital version has started instead].

Otomo: Things are going to be different, definitely. Look at musicians — they’re moving towards putting out music under their own labels. I like going to bookstores and record stores, so I’m not sure how thrilled I personally am about this, but anyway.

Inoue: Manga have always been drawn under the assumption that they would be made into printed books, so you really can’t just go turning them into e-books just like that. The situation in Europe is such that it’s hard for manga to catch on unless it’s in e-book form, so I do feel that it’s a problem that maybe I need to deal with. I’d like to do some thinking about what things e-books could allow me to do.

Otomo: It really won’t be the same if it becomes a matter of scanning manga drawn on paper and viewing the images on some sort of device; we probably would have to do things differently than when people were reading manga on paper. There are all sorts of people out there, though, and I think it’s best if the artist decides how he wants to draw his work and put it on the page.



Notes by ChronOtomo:

 ① Akira. Is Katsuhiro Otomo's seminal manga published from 1982 to 1990 in Young magazine and homonym anime film released in 1988.
② Dōmu (童夢) Is a manga by Katsuhiro Otomo published originally from 1980 to 1981 in Action Deluxe magazine and later collected in one volume book. It was honored with the 1983 'Japanese Science Fiction Award'

③ Ashita no Joe (あしたのジョー) boxing manga written by Ikki Kajiwara (梶原 一騎) and illustrated by Tetsuya Chiba (千葉 徹彌) that was published in japan between 1968 an 1973.
④ Kyojin no Hoshi (巨人の星) is a Japanese sports manga written by Ikki Kajiwara (梶原 一騎) and illustrated by Noboru Kawasaki (川崎のぼる) that was published in japan betwen 1966 and 1971.
⑤ Shuji Terayama (寺山 修司) was a Japanese Poet, dramatist, writer, film director, photographer considered by many one of the most productive and provocative creative Japanese artists.
⑥ The Black Tent Troupe. The Black Tent Theatre was founded in 1968 as “Theater Center 68” through the merger of three dramatic groups. In 1970, performances began in a large mobile black tent and over the next 20 years more than 150 performances were held nationwide. In 1990, they adopted the present name Black Tent Theatre. http://www.ne.jp/asahi/kurotent/tokyo/english.html
⑦ Slam Dunk (スラムダンク) is a manga by Takehiko Inoue (井上雄彦) that was serialized in Shueisha's Shonen Jump magazine between 1990 and 1996.

⑧ City Hunter (シティーハンター) is a manga by by Tsukasa Hojo (北条 司). It was serialized in Shueisha's Weekly Shōnen Jump from 1985 to 1991.

⑨ Vagabond (バガボンド) is a manga by Takehiko Inoue (井上雄彦) that started it's serialization in Kodansha's Morning magazine in 1998 and portrays a fictionalized account of the life of Japanese swordsman Miyamoto Musashi (宮本 武蔵), based on Eiji Yoshikawa's (吉川 英治) novel Musashi.
⑩ Mapping pen (丸ペン) is a type of pen used to make thin lines. Otomo regularly uses them for drawing his manga.

 ⑪ Shonen Jump (少年ジャンプ) is one of the most successful weekly manga magazines published by Shueisha since 1968.

●ILLUSTRATIED ESSAY● OYAJISHU (親父衆) #8


OYAJISHU (親父衆) #8
Published in Shueisha's Jump X (ジャンプ改) #5
2012-IV-10 | 2 pages | B&W

Magazine available in Amazon Japan:
http://amzn.to/13n1i8y

Read it for free in the official Jump X website:
http://jumpx.jp/sp/oyaji/008.html

COLLECTED IN THE BOOK:
●OYAJISHU (親父衆)


●EXHIBITION● OTOMO KATSUHIRO GENGA-TEN「大友克洋GENGA展」









Katsuhiro Otomo's Original Pictures Exhibition: GENGA-TEN covering all the illustrations done by Otomo and plenty of the manga works including all the AKIRA original panels will be shown in 3331 Arts Chiyoda in Tokyo from April 4, 20012 to may 30, 2012. This is the first time that Katsuhiro Otomo's works are presented to general public in their original form.


PIE international released the exhibition catalogue:

●SIGNATURE● GENGA GRAFFITI



Katsuhiro Otomo has left this signed drawing in the signature wall of his GENGA-TEN exhibition that took place in 3331 Arts Chiyoda in Tokyo from April 4, 2012 to may 30, 2012.

●ILLUSTRATION● KARDIA



Katsuhiro Otomo has drawn various illustrations for the package of the album Καρδια OTOMO KATSUHIRO GENGA EXHIBITION BGM by Kuniaki Haishima (蓜島邦明). The album contains a 49minutens long single track that was used as the background music in Katsuhiro Otomo's GENGA TEN (大友克洋GENGA展) exhibition.

ALBUM DETAILS
Label:-
Release date: 2012-IV-7
Duration: 50 min
Retail price: ¥1,000
Catalogue number: HAI-0001

AVAILABILITY
Amazon CA: -

iTunes
iTunes US: http://goo.gl/Y6ezIx

●TALK● OTOMO KATSUHIRO GENGA-TEN「大友克洋GENGA展」


Katsuhiro Otomo has joined Katsuya Terada (寺田克也) , Isami Nakagawa (中川いさみ) and  Hisashi Eguchi (江口寿史)  in Nihon Sakeya (にほん酒や) a bar located in Kichijoji in a 2 hour and 40 min talk, commemorating the Genga-ten exhibition that will open it's doors on April 4, 2012. The talk was originally streamed live in Ustream.

●MANGA● DJ TECK NO MORNING ATTACK


DJ TECK NO MORNING ATTACK (DJ TECKのMORNING ATTACK) 
Published in Geijutsu Shincho (芸術新潮)
2012-III-24 | 8 pages | Color

Collected in:
●Geijutsu Shincho (芸術新潮) Otomo Special
●PANDORA #1 (FRENCH EDITION)




●MAGAZINE● Geijutsu Shincho Otomo Special




This April issue of Geijutsu Shincho (芸術新潮) Magazine covers the upcoming Katsuhiro Otomo Genga-ten Exhibition and reviews the artist's trajectory. This issue features  a new 8 page manga written and drawn by Otomo: "DJ Tech no Morning Attack of ".

MAGAZINE DETAILS
Publisher: Shinchosha (新潮社)
Release date: 2012-III-24
Language: Japanese
Number of pages: 184
Size: 28.2 x 20.6 x 1 cm
Retail price: ￥1,500

AVAILABILITY
Amazon JP: http://amzn.to/TkRhW8
Amazon US: http://amzn.to/1FGkpzt
Amazon CA:-
Amazon UK:-
Amazon DE:-
Amazon FR:-
Amazon IT:-
Amazon ES:-
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