Ayluc a écrit:
Saverne ça m'intéresserait de comprendre pourquoi un manga qui se vend toujours à 500k peut avoir des classements aussi bas, dans une pure logique le manga devrait avoir assez de fan pour au moins être minimum dans le milieu du classement, t'aurais une explication?

Voilà l'explication que je propose : le lectorat du Jump se renouvelle année après année, en théorie, ça vise les collégiens, concrètement, c'est plus des lycéens qui le lisent, mais les uns comme les autres ne le restent pas éternellement, et à l'âge adulte, un certain nombre d'entre eux arrêtent d'acheter le Jump. Les fans de Bleach (une série très longue donc) qui le lisaient dans le Jump continuaient (en partie) à acheter les tomes, sans acheter ou lire le Jump à partir d'un moment.

Là, les nouveaux lecteurs du Jump ne sont pas suffisamment à aimer Bleach et ne votent pas pour cette série. Ceux qui lisaient la série avant et continuent le Jump n'aiment pas un nouvel arc et arrêtent de voter. Et ceux qui ne lisent plus le Jump mais achetaient Bleach pour continuer la collection, eh bien une partie d'entre eux finit aussi par arrêter d'acheter, mais comme c'était des achats d'habitude, ça met plus de temps et c'est moins spectaculaire que les votes...

One Piece vend bien plus en tome relié qu'il n'y a de ventes de Jump à chaque numéro, cela montre l'étendu du public "tome relié seulement".

Mais difficile de faire "ouais youpi le retour de Bleach", parce que ç'est difficile d'effectuer un retour triomphant quand on a laissé les gens sur un final aussi foutraque.

Sakuma: "So when it comes to writing manga, is there anything particularly important or something you’re especially conscious of? ... Just kidding, of course there is."

Kubo: "Not really..."

Sakuma: "What!? Because, 'BLEACH' is the most stylish manga I've seen, it's intense but still has that Weekly Shonen Jump vibe. It stands out as something a bit more mature, so I thought maybe you did that intentionally to differentiate it from others."

Kubo: "No, I don't think I did it intentionally."

Sakuma: "It’s more like you just wanted to draw it."

Kubo: "Yeah, that’s how it is. I’ve always had the mindset of drawing the kind of manga I’d want to see."

Sakuma: "You just want to draw. But that makes sense. When it comes to balancing what you want to create with what’s expected, especially when it's a job, there are usually a lot of people involved in the process, right? So I imagine the story or the characters might change as a result."

Kubo: "Well, I'm the type of writer who doesn't really have meetings with my editor."

Sakuma: "Are there people who do that? I mean, hearing opinions from various people..."

Kubo: "Oh, like doing research?"

Sakuma: "Yes, or in the afterword of a manga, it often seems like the editor is heavily involved, giving feedback and having meetings every time."

Kubo: "Ah, within the story, you mean."

Sakuma: "So, you didn’t have that?"

Kubo: "Not really. I mean, when I was serializing, my editor would come to pick up the manuscript once it was done. I’d tell them, 'Next week, it’ll go like this,' and then they’d leave."

Sakuma: "And they just accepted that?"

Kubo: "It’s more like... (laughs) I didn't give them any other choice."

Sakuma: "Wow, that’s impressive! So you already had everything figured out in your head before anyone else could even get involved."

Kubo: "Yeah, it’s like, while I’m drawing, I’m already thinking about the next week. I think that's probably the case for everyone."

Sakuma: "I see, especially for those doing weekly serialization."

Kubo: "Yeah, probably. I’ve never really talked about this with anyone before."

Sakuma: "True, it’s not something that gets discussed often."

Kubo: "While drawing, I’m thinking about the next chapter, and once it's done, I just tell the editor what’s going to happen next."

Sakuma: "Wow! So that’s how it works! You must be a genius."

Kubo: "No, no."

Sakuma: "It’s like you’re overflowing with talent."

Kubo: "As long as the editor keeps me motivated, that's enough."

Sakuma: "So, they were just there to keep your motivation up."

Kubo: "Exactly."

Sakuma: "That’s amazing. On the other hand, I bet the editor felt really lucky. They didn’t need to intervene much, and just by supporting what you wanted to do, it turned into a worldwide hit. It must have felt surreal, like, 'Wow, something incredible happened.'"

Kubo: "Back in the early days, there was this annual party that Jump holds..."

Sakuma: "Yeah, I’ve heard about it, but only as a rumor."

Kubo: "Like the one shown in 'Bakuman.'"

Sakuma: "Exactly!"

Kubo: "There’s that party, and when I’d go with my editor from back then, the editor-in-chief would say, 'You only think of this guy as the manuscript pickup guy, don’t you?'"

Sakuma: "(Laughs) They figured it out! That’s how it was, huh? Do a lot of manga artists attend?"

Kubo: "Only those currently serializing can go."

Sakuma: "Oh, so there’s a rule like that. That’s pretty cool."

Sakuma: If you were to describe your personality in one word?

Kubo: Dog lover.

Sakuma: Oh! What would you say is the work that serves as your life’s Bible?

Kubo: GeGeGe no Kitaro.

Sakuma: Oh, interesting! Is there anything particular you focus on or are conscious of when creating manga?

Kubo: Nothing in particular.

Sakuma: Is there a turning point event that significantly contributed to your growth as a manga artist?

Kubo: Not really. I don't think I've grown much, to be honest.

Sakuma: Oh, really? What was the most memorable event during the serialization of Bleach?

Kubo: The most challenging time was during my first serialization, when the schedule was incredibly hectic.

Sakuma: I see. Thank you! There's so much intriguing information already. Hold on, hold on! Really, nothing out of the ordinary?

Kubo: Nope, nothing at all.

Sakuma: I see. Then let me dive a bit deeper. First, you said your personality in one word is "dog lover". That's more of a preference, right? It's not really a personality trait.

Kubo: You're right; it's not a personality trait.

Sakuma: You have no personality traits? That's surprising, considering the number of characters in Bleach.

Kubo: There are, indeed.

Sakuma: And you're saying someone who thinks about all those characters’ personalities doesn't have a personality of their own?

Kubo: Maybe I've given too much of my personality to the characters.

Sakuma: I see. You're pouring your soul into creating them.

Kubo: Even if you ask me to describe my personality, I can't really pinpoint it. I thought about it a lot, but I really don’t know.

Sakuma: Really? For example, is there a character in Bleach whose way of thinking is similar to yours?

Kubo: Not really. I try to create characters with diverse viewpoints.

Sakuma: Oh, I see. You aim to have characters who say completely different things within the same work.

Kubo: Yes, exactly.

Sakuma: That must be challenging! For instance, you want to move the story in one direction, but another character has their own storyline, so you can’t ignore them.

Kubo: Yes, I consider everything.

Sakuma: As an actor myself, I spend a lot of time thinking about the character and digging deep into their personality to see how it fits into the story. But you're responsible for all of that, so the burden must be immense.

Kubo: But that's why, when I'm asked to describe my own personality in one word, I can't really find anything.

Sakuma: Really? What about something like being a bit careless or finding it tedious to clean up your room?

Kubo: I might be careless. I'm probably careless when it comes to anything outside of manga.

Sakuma: Oh, really?

Sakuma: I was surprised when we went bowling together, then had dinner, and later visited your office or workspace. There were stacks of original drafts piled up like treasure, just lying around carelessly on the sofa. Usually, you'd keep those neatly organized, right?

Kubo: Yeah, I guess.

Sakuma: I mean, I'd frame each one if they were mine! But when we were looking at your drawings, I noticed that nowadays, most manga artists work digitally, so original drafts are rare. But you still have tons of new, freshly drawn originals at home. You're a traditionalist, right?

Kubo: Yes, I usually draw my parts by hand. My assistants handle the digital work. They scan the original drafts and then process them digitally.

Sakuma: Oh, I see. That's unusual nowadays. I hardly hear of anyone starting with analog techniques anymore.

Kubo: Yeah, not many people start with analog methods. Digital is easier in many ways, and some people prefer it for that reason.

Sakuma: Yeah, digital has its own challenges, but the brushstrokes and touches are different, aren't they?

Kubo: Exactly.

Sakuma: But anyway, back to "dog lover"—I know it's a bit strange to circle back to this, but are you really that into dogs?

Kubo: Yes, I have a dog. Here's a picture.

Sakuma: Oh, cute! A Pomeranian?

Kubo: Yes, a Pomeranian.

Sakuma: So, you love dogs? Have you always liked them?

Kubo: Yes, I became fond of them after getting a dog.

Sakuma: I see. But in Bleach, the only dog-like character is Komamura, right?

Kubo: He's not a dog; he's a wolf. Sorry, I couldn’t resist correcting you.

Sakuma: I apologize for poking fun at Komamura. But there aren't many animals in your works, so I didn’t think you were into them.

Kubo: Yeah, I do like animals. When I started writing Burn the Witch, I included more animals.

Sakuma: Ah, I see. That was the timing for it. Thank you! Moving on, you said that GeGeGe no Kitaro is your life’s Bible.

Kubo: Yes, I was torn between GeGeGe no Kitaro and Saint Seiya.

Sakuma: Those are some iconic works.

Kubo: GeGeGe no Kitaro was the first thing I liked as a child, so I chose it.

Sakuma: Did GeGeGe no Kitaro inspire you to become a manga artist?

Kubo: Absolutely. It was the first time I realized that being a manga artist was a possible career.

Sakuma: Wow, GeGeGe no Kitaro, huh? How old were you?

Kubo: I think I was in second grade.

Sakuma: Second grade? So, by third grade, you were already getting into Shigeru Mizuki’s Yokai Gasshu, right? That thick volume?

Kubo: Yes, it was about as thick as a volume of Weekly Shonen Jump, even though it was just a collection.

Sakuma: Wow, even though it was monochrome?

Kubo: Yes, it was monochrome. I still have it in my workspace.

Sakuma: Wow, it really is like your Bible. Did you practice drawing by looking at works like that?

Kubo: Maybe I did when I was younger.

Sakuma: So, you’ve been drawing since before then?

Kubo: Yes, since kindergarten, maybe even earlier. I used to draw dinosaurs and beetles all the time.

Sakuma: Wow, so you’d look at picture books or something?

Kubo: Yes, I’d look at picture books and draw dinosaurs from the side. Then I’d start drawing them facing forward, just using my imagination.

Sakuma: That's incredible! You must have had a great sense of spatial awareness.

Kubo: That’s when my parents thought I might be good at drawing, so they started giving me sketchbooks.

Sakuma: That’s amazing! Thanks to that, many people have been saved by your work.

Kubo: Thank you.

Quand même, de nos jours on a certains auteurs qui n'ont jamais rencontré leurs assistants IRL, c'est un changement fou.

Kubo conforme à comment je me l'imaginais...
Il peut citer Saint Seiya, la filiation est évidente. Pas vu Gegege no Kitaro même si c'est célèbre, donc je ne peux pas dire.

Et vu sa production relativement faible depuis Bleach, je ne pensais pas qu'il avait une doctrine sur le digital.

Quand même, de nos jours on a certains auteurs qui n'ont jamais rencontré leurs assistants IRL, c'est un changement fou.