Looking at the development of Japanese manga for decades, it is not difficult to find that in addition to those talented manga masters, many outstanding manga artists have an excellent teacher.
Most of the new debut comic book newcomers will find an already famous cartoonist to become their assistant, constantly sharpen their drawing skills and storytelling skills, and then enter the fiercely competitive comic market in their own works, and finally become a real cartoonist.
This is called "the inheritance of manga".
This article was first published by "Zephyr Anime" and may not be reproduced without consent
Hojoji is a master of the "realistic rogue manga", and "The Three Sisters of Cat's Eye" and "City Hunter" are the good childhood memories of most people. And his disciple's name is also thunderous - he is the author of the top Japanese sports manga, Yuhiko Inoue, who drew "Slam Dunk Master".
Hojoji had another disciple, Haruhito Umezawa, the author of the Son of The Divine Son. Umezawa Haruhi also cultivated the author of "Ronin Kenshin" and Nobuhiro Tsuki, but Nobuhiro Tsuki was discredited for his crimes, which was considered to have insulted the reputation of Hojo Ichimon. Inoue's disciple was Yasuhisa Hara, who had finally regained a little dignity by painting The King's World.
Speaking of Nobuhiro Tsuki, his master is not only Umezawa Haruhito. He worked as an assistant to many manga artists, one of whom was the famous Ken Obata.
Ken Obata became famous for his "Chess Soul" and "Death Note", and there was an endless stream of people who came to become assistants, such as Kentaro Yabuki, author of "Black Cat" and "The Lady of the Bag", Yusuke Murata, author of "One Punch Superman Reworked Edition", Fumiya Sato, author of "Kaneda Kazuna Incident Book", and so on.
Nobuhiro Wataki also cultivated an excellent disciple, that is, Eiichiro Oda, who drew the masterpiece "One Piece".
However, Eiichiro Oda's first master was not Nobuhiro Kazuki, but Kaiya, the author of The Deception Game. However, the manga master he most envisions is Akira Toriyama, the author of Dragon Ball.
Eiichiro Oda, Kishimoto Kishimoto, Kubo... These cartoonists, who are now familiar with them, have grown up watching Dragon Ball, and there are not a few cartoonists like them who have "spiritual mentors".
Masami Cherda became famous for "Saint Seiya", but when he was a teenager, he was a bad teenager who often went to the police station. It was after watching Hiroshi Hongomiya's "Boy As a General" that he embarked on the path of manga.
Tatsuya Egawa was also a proper disciple of Hiroshi Motomiya, and he also cultivated students like Yasuke Fujishima, the author of "Arrest Warrant" and "My Goddess". However, he also said that he was angry at the attitude of young cartoonists, so he did not need an assistant at all.
What a bad-tempered uncle.
Accommodating to the master's temper is a compulsory course for every student, even Hiroshi Fujimoto and Yasuko Suo, who later became big names in the manga industry. They used to create many classic manga under the name of Fujiko Fujio, and later parted ways due to different styles, with Hiroshi Fujimoto's masterpiece being Doraemon and Anko Suo having Ninja Spirits and the Legend of the Great.
The two of them worked hard at Tokiwaso, and together at that time, Osamu Tezuka, who was known as the "god of manga", naturally they would not miss the opportunity to learn from this manga master.
In addition to Hiroshi Fujimoto and Suo Yasuko, there are also Fujio Akatsuka, author of Assun, and Shotaro Ishimori, author of "Artificial Man 009". They have the most say in how to figure out Tezuka's temper.
Osamu Tezuka is a workaholic who demands near perfection in his work. Whenever a new draft is released, he will ask for the opinions of others, and if there is a good suggestion, he will immediately revise it, even tearing down and redoing it.
In order to complete the task early, his disciples often ask innocuous questions so that the comic can be handed over to the editor sooner. It is said that once, the editors of the magazine were already waiting outside the work room, waiting for Osamu Tezuka to come up with a new draft, only to hear him habitually ask, "How?" ”
Before everyone could talk, a newcomer's assistant expressed his opinion, and everyone couldn't stop it. Unexpectedly, Osamu Tezuka agreed with this opinion, so he asked the editors to wait all night.
Although Osamu Tezuka's habit made everyone a little uncomfortable, it deeply influenced many manga artists. Like Mr. Hiroshi Fujimoto, he was also known for his diligence, and at the moment of his death, he still held a paintbrush in his hand, and on the case was the unfinished drawing of "Doraemon Long Story: The Adventures of Clockwork City".
In "Tokiwaso", many manga artists were born, and another manga training base, "Drama Painting Village Academy", also trained many manga artists.
"Drama Painting Village Juku" is a "raid training class for original writers and manga artists" founded by Kazuo Koike and Ryoichi Ikegami, the originators of Japanese "realism" manga, and a total of 8 sessions have been held before and after, from which came Tetsuo Hara, author of "Hokuto Shinken" and "Hana no Keiji", and Keisuke Itagaki, author of "Blade Tooth", and so on.
But the most surprising thing is that they also have a female classmate, that is, the author of comics such as "Crazy Horse" and "Inuyasha"- Rumiko Takahashi. Her painting style is far from that of the instructors and classmates in the training class, and it can even be said that it is completely different.
"There was a traitor among us," says tetsuo Hara and other manga artists.
It's a joke. In fact, it is not an uncommon thing for a disciple to have a different painting style from that of a master. On the contrary, as an assistant comic book newcomer, what learns from an already famous cartoonist is more in how to tell a story well and how to draw a picture well.
As for the painting style, it is more of a natural brushstroke and a later evolution, which are things that are not easy for the master who leads into the door to convey.
In fact, Japan produces a lot of "manga drawers" every year, but it is not easy to become a good manga artist. It is not that you can become a comic assistant and ascend to the sky one step at a time, but you must have the talent of a cartoonist and the professional spirit of hard work to finally become famous.
"Talent + effort + luck = success", this is also the common sense of cartoonists, and passed down from generation to generation, opening a new era of comics one after another.