Hello everyone, I am Ke Xiaoyan ~ Aoyama Tsuyoshi sensei officially debuted in 1987 (the first submission was in 1985), before the 1994 "Detective Conan" began serialization, Aoyama sensei also serialized a number of short to long comics, including the "Magic Quick Fight" and "YAIBA (Legend of Sword Courage)" that we are familiar with, as well as some short stories included in the "Aoyama Tsuyoshi Short Story Collection". I don't know if you students have ever thought about this problem -
Is Aoyama's painting style the peak of his debut? Before painting "Conan", did Mr. Aoyama's painting style change anything?
The answer is – yes, and it varies a lot! This article is to lead the students to find out the painting style before Aoyama Teacher serialized "Conan"
(Ke Research Institute× Youth Research Institute √) (laughs)
<h1>First, where does the painting style come from</h1>?
Please note that this is not matryoshka behavior – before we explore Aoyama's early works, we must also look at where Aoyama's style of painting came from when he debuted as a manga artist.
On this point, Teacher Aoyama did make some explanations.
Weekly Shonen Sunday, released on April 3, 2019, No. 18 of 2019, published a conversation between Mr. Tsuyoshi Aoyama and Mr. Anda Chong, in which Mr. Aoyama mentioned:
"The Ti-like thing on Conan Jun's head was borrowed from the Seven Flavors of Rainbow Pepper. The protruding part behind (hairstyle) is the kabao in "Magic Makes Sally"... Then, Conan Jun's eyes are also from Anda Sensei! The mouth shape is Monkey Punch, and the nose is Chiba Tetsuya. The paintings of these three people together become my paintings. ”
Although, however, this interview looks quite wrong...
The first is Conan's hairstyle, which is like Seven Flavors (Forehead)
Rainbow Peppers Volume 3 Episode 1 Seven Tastes
The author of "Rainbow Pepper" is also Teacher Anda Chong
The plus guarantee is somewhat similar (meddling)
Magic Makes Sally Episode 15 Plus
"Magic Makes Sally" was originally written as Yokoyama Radiance
——If the way the hair is drawn can also be explained according to Aoyama's own painting style, the eye painting method Aoyama teacher did not say this before???
In a manga-style interview published in Weekly Shonen Sunday, which was released on April 26, 2017, Aoyama said that his eye style came from Yuki Tomino's Fighter Mecha Safinger (a mecha anime broadcast between 1982 and 1983) + round highlight + crescent highlight. By the way, Yuki Tomino is also one of the directors of Mobile Suit Gundam, Aoyama-sensei's favorite.
"Weekly Shonen Sunday" 2017 No. 22.23 No. 53, Chineseization of Migrant Workers
As for the way the nose is drawn, there is one thing to say, compared to the drawing method of Chiba Tetsuya, even "Fighter Mech Safinger" is closer to Aoyama...
Fighter Mech Safarigel
Chiba Tetsuya's nose drawing method is so distinctive that it is difficult to imitate!
Cover of Tetsuya Chiba's autobiography
However, the New Year has come and gone, so let's see what kind of influence the three giants in Aoyama's mind have had.
<h1>1. Kato Kazuhiko</h1> Kato Kazuhiko (26 May 1937 – 11 April 2019), alias Monkey Punch, was a well-known Japanese manga artist who served as president of the Japan Electronic Manga Association and a director of the Japan Manga Artists Association. He is a representative of the manga works mainly for young people, such as Lupin III (1967/ original manga and some animation directors), One Night and One Meal (1972), and "Becoming a Detective" (1980).
The Transformation of Lupin III (Original)
The Transformation of Feng Fujiko (Animation)
Monkey Punch is probably the most familiar of these three cartoonists. After all, the Lupin III series is also a National Japanese production, and its animation has also produced a TV anime (2009) and an animated film (2013) in conjunction with Conan.
Lupin III vs Detective Conan THE MOVIE (2013)
Mr. Aoyama himself has a deep relationship with Mr. Monkey Punch and Lupin III. In the 30,000-word interview with Aoyama Tsuyoshi, published on October 18, 2017, Mr. Aoyama mentioned "Lupin III" when talking about his experience of peeking at comics as a child:
"...The same goes for Lupin III. Lupin is particularly handsome, I like it, and I also like the sexy look of the second son, so I hid the comics from my parents and hid them in the bookshelf. But once, the comics were all gone, and I thought, 'Eh? What's going on? I remembered that I once hid a comic strip next to my father's pillow (laughs). ”
Aoyama-sensei's love for the Lupin III series also extends to Conan.
For example, in the many conversations at the end of 2013 about "Lupin III vs Detective Conan THE MOVIE", and in the 2017 "30th Anniversary Book of Aoyama Tsuyoshi", Aoyama Sensei repeatedly mentioned that "Fujiho Yukiko" comes from Fumijiko Mine and his original voice actress Nijido Yukiko, and Kudo Yusaku was also based on the impression of Yasuo Yamada, the first voice actor of Lupin III. The 2013 issue of "Aoyama Interview & Top Secret Information Approaching the Truth" also mentioned that Belmode is the evil side of Feng Fujiko, and the good side is Yukiko; Yukiko's hairstyle is almost the hairstyle of Fujiko. In addition, the first love of Officer Sato in "Conan" is also set as Lupin III... [Laughs).
Of course, the strange thief Kidd, who is also an international thief who can disguise and change his voice, the decathlon, and is called "Heisei (?) The strange thief character of the era of Yassen Robin (Lupin III is the grandson of Arthur Robin, robin and Rubin are different translations of the same word) are actually more affected (laughs).
<h1>2. Yachiba</h1>
Tetsuya Chiba (born January 11, 1939), pen name ちばてつや (also known as Hiragana of his real name), is a well-known Japanese manga artist who served as chairman of the Japan Manga Artists Association from 2012 to 2018 and vice president of the Japan Electronic Manga Association since 2013. His representative works include "Tomorrow's Father" (painting, 1968, also translated as "Little Boxer"), "I Am iron soldier" (1973, also translated as "Good Boy"), "Sumo Lux Matsutaro" (1973), etc., involving manga in many categories such as girl manga, shonen manga, and youth manga.
Inner page of Tomorrow's Father
Sumo Lux Matsutaro Episode 1
Since Aoyama-sensei practiced kendo when he was a child, he was very interested in kendo manga such as "I Am Iron Soldier", which was also one of the manga that Aoyama-sensei peeked at behind his father's back when he was a child (laughs).
Cover of the first volume of I Am iron soldier
Judging from the character painting style alone, it seems that Aoyama Sensei's influence on Chiba Sensei is not very obvious.
But don't worry, there's Anda Sensei (laughs).
<h1>3. Anda Chong</h1> Anda Chong (born February 9, 1951), pen name あだち充 (i.e. the hiragana + first name of the surname), a well-known Japanese manga artist, whose representative works include Miyuki, Miyuki (1980), Touch (1981), H2 (Days with You) (1992), Cross Game (2005), etc., especially good at romantic comedy and baseball comics. Mainly involved in juvenile manga, children's manga and shonen manga.
Cover of Anda Chong's work
It's only natural that people who regularly follow Mr. Aoyama's interviews may see Mr. Anda's name from time to time— Anda's work is also serialized in Weekly Shonen Sunday, and Mr. Anda is a beloved predecessor to Mr. Aoyama, a colleague at the "Sunday" celebration banquet, and a manga friend.
According to the july 15, 2009 release of "Junior Sunday 1983" "From 1983 Us" - Aoyama Tsuyoshi to Anda Chong teacher comments, Aoyama teacher has been reading Anda teacher's early work "Nine (The Last Champion)" since 1978, and is full of praise and love for Anda teacher's peak work "Touch (Baseball Hero)". When asked what he would take with him to escape during an earthquake, Aoyama-sensei's answer was also "Anda-sensei's signature."
(Note: In 1989, at the 30th anniversary baseball game of Weekly Shonen Sunday, Anda and Aoyama played together as the "Manga Artists Team", and on the team table, Aoyama-sensei had asked for an autograph but was rejected (a miserable newcomer); nearly ten years later, in 1998, because Anda's sons became Conan fans, Aoyama signed for him and finally got Anda's signature as an exchange. ）
Judging from the style of painting, drawing conventions and style of his works, Mr. Anda Chong is indeed the one with the most obvious influence on Tsuyoshi Aoyama among the three manga artists mentioned above.
Everyone knows that Aoyama Sensei has the creative habit of applying the appearance setting of the protagonist of the previous work (changing the hairstyle without changing the face) and designing a "set" of characters. But Teacher Aoyama is not the most "excessive", look at Teacher Anda -
Actor:
Junior Sunday Editorial Department Official: Which picture is Tatsuya Uesugi? (*Four pictures are different people)
Heroines and key female characters:
Male protagonist's best friend (baseball partner):
Important male characters (partly rivals of the male protagonist, partly friends of the male protagonist):
Uncle-type characters (except for Ryuichi Mazaki in the upper right, all of whom are the fathers of the male protagonist):
...... Face-bumpers have increased (laughs).
This kind of creative habit naturally has an impact on Aoyama's character design concept.
Image from Silver Bullet SBSUB
Not only the above characters, but also other major characters have signs of following the setting of the previous game. For example, the character on the far right of the picture below is Tetsumi Tomoko, the mother of the protagonist Tetsuken in YAIBA, and the character on the far left is Tetsuzuka, the sister of the protagonist Tetsuki... Are these hairstyles all familiar?
As a result, the Crimson series of "Conan" played with such a YAIBA meme: "Because Mom is very good at pretending to be a family!" Ah, the time I was disguised as Ash plains was also very good" - this sentence is not related to the Kudo family and Gray Plains in "Conan", but refers to the fact that they are "family" in YAIBA (laughs)
Yaiba final words
In addition, Aoyama's hairstyle treatment of the character can also find some shadows that belong to Andachong's fresh, concise, delicate but not messy painting style. (Of course, for Aoyama Sensei, it is only in the first and middle stages of the painting style that it begins to become concise (laughs))
H2 Vol. 1, Episode 1
In fact, not only the picture, but also at the level of plot and character setting, Aoyama Sensei is also greatly influenced by Anda Sensei.
According to Aoyama Himself, Anda is also his "teacher of love comedy." With high school students and their friends as the core, the romantic comedy heats up the blood baseball double-line plot - it is actually Anda's masterpiece (laughs). This strong sense of déjà vu proves that Teacher Aoyama is really deeply influenced by Teacher Anda.
"H2" Volume 1, Episode 1 / Hey, why is there such a picture (laughs)
Do you think that's the end of it? How can there be less of this one in Aoyama's painting style?
<h1>4. Matsuba Akimi</h1>
Akemi Matsunee (November 18, 1956-), Akemi Matsuname (surname + surname Hirano), Japanese girl manga artist, Picture Seisei Seizomi, representative work "Pure Love Fruit" (1982), "Primary Color Love Book" (1988), "HUSH!". (1988), "Kingdom of Romance" (1991), "Love Internal Medicine 25:00" (1999), etc. (Yukomatsu Naero-Ying-like numerous works Miyako Yutsu Tsuna, Rinri 1000 japanese literature name).
Cover of Akimi Matsunabe's work
Why is she suddenly mentioned? It is because on July 18, 2014, "Detective Conan 70+ Super Summary Book" to Tsuyoshi Aoyama's 150 questions, Aoyama teacher once said in the 34th question:
"[My paintings were influenced by] Monkey Punch, Chiba, and Anda. There is also Mr. Akimi Matsunakata. These four people together are my paintings (laughs)."
(That is, the three manga artists above + Akimi Matsunagi.) ）
So why do you say that Teacher Aoyama is honest? Because, February 15, 2003" Detective Conan 10+ Super Summary Book
An interview with Tsuyoshi Aoyama mentions:
"But I haven't seen girly comics yet, because I'm stubborn and don't look at things that only girls can see."
INTERVIEWER Akemi Matsue, girl cartoonist.
Well??? [Laughs]
Although Matsunake's influence on Aoyama-sensei is not directly reflected in the drawing style, Aoyama-sensei is indeed influenced by the girl manga, and he himself admits that his early painting style is somewhat like girl manga - here I have to mention the fifth manga artist, Abe Toyo.
<h1>5. Abe Akira</h1> Abe, Yutaka Abe (surname + surname hirano),Japanese girl cartoonist, Sou Shu-yi Nihon University 艺术 Gakuin, 并 participation 热团), Kore Aoyama 刚sho school, the company's Gakujo, representative works "Kuma-chan's Christmas", "Dragon Quest Spirit Rubis Legend", "FIGHT!". (Yuno Abe Abe's many works, The Name of The Capital's Death, The Name of The Japanese Literature for 1-1-Ying,"并并传传负责亘亣仞侦亘柯柯亘亢𱈨𱈨亣亣云𱆪𱆪𱆭亏𱆭𱆭云云𱆳云𱆳云𱆭 Tokujo Hens Series Manga No. 3, 4, 8, 9, 12, 15, 17, 20, 23, 26, 29, 32, 33 Masterpieces Japanese "Mei Kakunan" 剧场剧场剧场剧场刦剧场卒剧场场
*Important note: Abe Washo was not Aoyama's assistant, but Aoyama Tsuyoshi used to work as an assistant similar to AbeToshi.
Cover of Abe's work
In the interview above, the first half of Aoyama's sentence is like this:
"When I first became a manga artist at the Manga Research Club (*Nihon University Hot Blood Manga Root Association), I worked like an assistant there. One of the seniors is the teenage manga artist Mr. Toyo Abe, who is now drawing a series of "Conan Specials" in the School Year's Chronicle. The place where I draw like a girl's manga is influenced by Mr. Abe. ”
(So in other interviews, when you talk about the influence of the painting style, where did you throw away Toyoshi Abe, and was he arrested as a prisoner in "Vol.2 File.1-3, corresponding to the 38 episodes of the anime (split version 39 episodes))"? (Laughs))
So without further ado, let's take a look at the girl manga-style Aoyama Sensei (laughs).
<h1>Second, from a macroscopic</h1> point of view, before the "Conan" began to be serialized, the painting style of Mr. Aoyama Tsuyoshi had undergone many changes: <h1>1. The early period (1985-late 1986).</h1>
The initial stage of Aoyama's painting style before his debut as a manga artist is also the stage when he was more obviously influenced by the painting style of his predecessors. His representative works include Tsuyoshi Aoyama's early unpublished work "Cynical Gangster" (selected for the Weekly Shonen Magazine Newcomer Award in 1985) and his debut work "Waiting for Me" (also translated as "Engagement", which was selected for the Weekly Shonen Sunday Newcomer Manga Award in 1986). The features are as follows:
(1) The character's face shape is thin and long, flat, wide and narrow, and the half side of the face adopts perspective painting method; the auricle is thin, and the front face and ears are flattened; the nose is represented by a triangular shadow, and the nose wings are almost invisible except for the case of a large area of shadow on the face;
(2) The eye is already a combination of dot highlight + slash highlight + bottom crescent highlight, but the circular highlight is smaller, the slash highlight is more and fine, and sometimes there will be a second smaller circular highlight, and there is a color transition and blending effect at the crescent highlight; the adult male eye painting method is only to reduce the iris and flatten it, rather than the painting method that is now small to approximate a point (this method of painting was mainly suitable for the elderly at that time);
(3) The body is short and small, the limbs are thinner, the limbs (hands and feet) are wider and thicker, the neck is very thin, and the shadow projected by the chin to the neck is often only one line (vertical shadow lines appear in individual storyboards);
(4) The hair is thick and messy, the shape is fluttering and casual like running water, and the tip of the line is smoother and slightly softer (the same is true for the folds of clothes).
You can intuitively feel... Aoyama Sensei is indeed influenced by shonen manga (covering his face).
(The top left corner is "Cynics", the rest of the pictures are "Waiting for Me")
In particular, in the 2017 (30th anniversary of Tsuyoshi Aoyama's debut as a manga artist), he once explained that at the beginning he submitted "Cynical Gangsters" to "Weekly Shonen Magazine", and when he submitted his second work "Waiting for Me Yo", he turned to "Weekly Shonen Sunday", officially opening his career as a manga artist for more than thirty years, and "Waiting for Me" became Aoyama's debut work.
The early style of painting laid a deep foundation for many changes in the style of painting in the future (although it was very different from the current one...). www）。
It is worth noting that at this time, Aoyama's painting style has identified elements such as "bangs separating from the middle" and "hair on the ear side" that will be used in Xiaolan's character design after many years. Why did you suddenly mention this... Stay tuned for w
<h1>2. Early maturation (early 1987 to early 1988)</h1>
It can be considered as part of the early style of painting, which was used by Tsuyoshi Aoyama in his first year after his debut as a manga artist. His representative works are "Magic Quick Fight" (at the beginning of the series) and two short stories before and after this. The features are as follows:
Compared with the previous period, the maturity period of the early painting style is not obvious, but the overall presentation effect is more delicate and clean. Specifically, the eye close-up is more delicate and watery, the widest line diagonally oriented toward the center of the highlight is more pronounced, the bottom crescent highlight becomes a pure bright white (no gradient blending effect); the half-face shape is still flat but much straighter; the lines are more stable and steady, and the hair is also converged and regular (although still flowing).
<h1>3. Pre-mid period (September 1988 - around 1990</h1>).
Representative works include the early days of the YAIBA series, the first half of The Magic Fight Volume 3, and a large number of short stories. The features are as follows:
Compared with the previous period, the character's face is more rounded, the half-sided face still adopts the perspective painting method, but the look and feel becomes much more comfortable, the auricle becomes thicker, and the painting style is more mature and stable; in the eye painting method, the large circular highlight is prominent, the diagonal highlight is only the middle one prominent, the rest of the thinner highlight is not significant, and the crescent-shaped highlight form tends to be fixed.
YAIBA episodes 1-3
<h1>4. Transition period (around 1990-1993</h1>).
It can be considered to be part of the medium-term painting style. Representative works are the mid-series of "YAIBA", the partial update of "Magic Quick Fight", and "Four And Three Bases". The features are as follows:
In the transition period from the middle to the middle of the period, Aoyama's main work is "YAIBA". At this stage, Aoyama's painting style gradually changed to what we know, and the overall presentation effect did not change significantly, only the details of the painting method changed slightly.
<h1>5. Medium term (around 1993-1995</h1>).
Representative works are the end of the series of YAIBA, the beginning of the series of Detective Conan, and the end of volume 3 to the first half of volume 4 of Magic Quick Fight. The features are as follows:
The lines are more and more concise, the eye distance is widened, and the eye painting method is basically the same as the current painting method except for the wide eyes and still rounded; the hair line has become hard and solid, the black hair characters are almost all blackened, except for important close-ups, the highlight part of the hair is rarely seen, and the highlight part is no longer pasted with light dots or white, but presented in the form of a line.
YAIBA Finale (1993)
<h1>6. Summary</h1>
Through the above picture, we can intuitively see that Tsuyoshi Aoyama's drawing style has undergone earth-shaking changes in the 9 years before Conan began serialization, from the flowing and free girl's manga style at the beginning to the steady and stable painting style with skin in the skin. When "Detective Conan" began to be serialized, Aoyama Sensei's painting style had entered the "mid-stage" stage.
Then the middle and late and late painting styles are the "Conan" painting style that Ke fans are most familiar with
The above is the story of Tsuyoshi Aoyama's painting style before (and at the beginning of the series) before the "Detective Conan" series ~ As for the things mentioned in the text, what is the thing that you can expect... Will handle it properly (laughs).