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※ 引述《comicreader (燃燒的狐狸)》之銘言：
: ※ 引述《MagicMoney (魔法洗錢靈)》之銘言：
:   原文
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:   http://yonkouprod.com/yoshihiro-togashi-x-masashi-kishimoto-interview/
:   Togashi sometimes specifies his characters’ names based on TV show. He
:   thinks it is not an issue since Akira Toriyama’s characters’ names are
:   also sloppy such as Bulma and Trunks.

    冨樫取角色名字有時是根據電視節目取材。他覺得這不是甚麼問題，
    鳥山明的角色名有的就很滑稽，像布馬(ブルマー，女生運動褲)和
    特蘭克斯(trunks，意指短褲)。


:   Kishimoto was scolded by his audience when he specified his characters’
:   names based on adjectives such as “Darui”, “Omoi” and “Karui”.
:   Togashi keeps it in mind that he should make a specific personality of a
:   character rather than just “he has a bright personality”. For example,
:   he specifies “when” his character gets pissed off.

    岸本曾被讀者責備用日文形容詞來取名，像達魯依 (だるい，怠い) ，
    奧摩伊 (おもい，重い)和卡魯依 (かるい，軽い）。

　　冨樫在設定角色時，會讓角色性格有獨特性，而不是像"他個性開朗"
    這樣的設定，舉例來說，冨樫會設定角色在何種情景下會生氣。　


:   Kishimoto specifies his characters’ weak points, which enables his
:   audience to feel sympathy toward him/her.

    岸本會設定角色有弱點，讓讀者能對他/她有同理心。


:   Togashi thinks it is hard to draw special ability based battle manga
:   such as Hunter x Hunter and Naruto these days since audience consider
:   characters’abilities in details and sometimes end up finding its
:   contradictions.

    冨樫認為這年頭，畫特殊能力的戰鬥漫畫很難，像獵人和火影，
    因為讀者會詳細考慮角色的能力細節，有時候還會發現矛盾的地方。


:   Togashi decides to make many characters appear in Black Whale arc since
:   he’d like to know what will happen in a chaotic situation. He refers to
:   Oda, who also introduced many characters in one arc (probably implying
:   Marineford Arc). Togashi thinks it is important to read many mangas/novels
:   to draw a good manga. He also says that they should read/watch it again
:   and again until they can completely assimilate it.

    冨樫決定讓很多角色出現在王位爭奪篇，因為他想知道在這種混亂情況
    下會發生什麼事。他提到尾田榮一郎，同樣讓很多角色出現在同一篇章。
   （可能是指頂上戰爭篇）。



:   He says that those who want to become a good mangaka should also read and

:   analyze mangas he doesn’t like.
:   Kishimoto reads his favorite mangas/films again and again such as “Akira”,
:  “Ghost in the Shell”, “The Usual Suspects”, “Forrest Gump” and
:  “Little Miss Sunshine”.

    冨樫說想成為好的漫畫家的人，應該要閱讀和分析自己不喜歡的漫畫。

    岸本對他喜歡的漫畫和電影作品會一讀再讀，像"阿基拉"、"攻殼機動隊"、
    "刺激驚爆點"、"阿甘正傳"和"小太陽的願望"。


:   Togashi’s favorite film is “Alien”, but the film he watches most
:   frequently is “Prince of Darkness” by John Carpenter. He also likes
:  “28 Days Later”.

    冨樫最喜歡的電影是"異型"，但他最常看的作品是 John Carpenter 執導的
    "黑暗王子"，他同樣喜歡"28天毀滅倒數"。


:   Question from sandman@APForums (which was selected as a fan question):
:   Which do you like better, drawing or making a story?

    從 sandman@APForums 來的提問
    你比較喜歡畫畫或是寫故事？


:   Togashi says those who want to become mangaka should focus on making a good
:   story rather than drawing since their drawing skills automatically improve
:   if they make a debut as a weekly mangaka.

    冨樫說想成為漫畫家，應該專注在創作好故事而不是畫技上，
    因為對能出道成為週刊漫畫家的人來說，畫技會隨時間自動進步。


:   Togashi is impressed at Kishimoto’s drawings since they are well-composed
:   despite the deadlines every week.
:   Kishimoto is exhausted due to Naruto, so he doesn’t want to draw anything
:   for the time being.




:   Kishimoto thinks it is important whether or not his audience can feel
:   sympathy toward characters in manga. For example, Naruto didn’t have
:   parents  and friends. Protagonist suffering just because Dark King is
:   strong is not a good idea.

    岸本認為讀者能不能對角色有認同感很重要。舉例來說，鳴人沒有父母和朋友。
    魔王很強，所以主角遭遇困境，這樣並不是什麼好點子。


:   Togashi warns that those who love pure fantasy video game such as Medieval
:   Europe in which sword and magic are drawn tend to fail to attract audience.

    冨樫警告喜愛奇幻風格(例如中世紀歐洲)遊戲的人，這種劍與魔法風格的作品
    容易失敗，無法吸引讀者。

    以下為該段訪談節錄

:   https://www.reddit.com/r/manga/comments/4y76kc/yoshihiro_togashi_x_masashi_kishimoto_creators/

: They were talking about how to mix elements of reality in the fictional
: worlds (e.g. telephone poles in Naruto), and how to convey worldbuilding.
: Togashi admits liking walls of explanatory text on the first page (世界説明の
: 文章が詰まっているやつ), surprising no one. Kishimoto talks about how H× H is
: connected to reality through elements such as mailboxes, and Togashi says
: that's the idea, but – I'm having a little trouble with this part, but
: unless I'm misreading – the consistency of this realism isn't something to
: stress to much about; for example, H× H started modeled on the real world of
: Togashi's childhood, but then he introduced cellphones, and then smartphones;
: so it's not chronologically perfect, but that's not a problem. He wonders
: whether this advice should also go to aspiring manga authors who like hard
: fantasy (ゴリッゴリのファンタジー).

  冨樫和岸本談論如何將真實世界的物件融入幻想故事中（例如火影忍者中的電線杆）。
  冨樫承認，他喜歡把解說的文句放在故事第一頁，此點毫不意外。岸本談到冨樫運用
  信箱連結"獵人"與真實世界的例子，冨樫則說這種連結性並不是值得多加著墨的地方，
  "獵人"世界一開始是架構在冨樫孩提時的成長地方，接著他在故事中引進手機，跟著
  是智慧型手機，就故事年代觀點來看，這樣是不完美的，可是這不是問題。不過他懷
  疑這樣的建議對講求設定的奇幻作品作家是否合適。


: Interviewer: "By 'hard fantasy' do you mean worlds modeled on medieval Europe
: —swords clashing with magic and so on?" Togashi implies yes, and says that
: the danger is that gamers who like this genre may want to express the same
: world on manga; but without leaving behind a gamer's sensibilities (ゲーム感覚
: ), it's hard to draw out (a sense of) reality/verisimilitude in a story.
: Pressed for more details, he says it's because the source of fun is different
: in a game; and if you confuse the two when drawing a manga, it's hard to make
: readers empathize with the story. "I love games too, so I understand very
: well the desire to write manga based on them, but…"




  "我也很喜歡遊戲，我知道這樣做很吸引人，不過..."

: Kishimoto (bleh) says that, in a game, the characters are a part/avatar of
: the player; so the events are fun because you experience them. However, that
: doesn't mean they'd be fun if you watched them happening to someone else,
: such as a manga character in a page. Togashi says that "participation" and
: "empathy" are distinct things. Kishimoto says that in a game the drama arises
: from the flow of play itself; which equipment you choose, how you improve it,
: your story choices etc.; while in manga the drama is someone else's, and thus
: you need literary devices to convey the emotional world of the characters.
: Consequently, if too much focus is given to complex worldbuilding, it may end
: up standing on the way of characterization and narrative, which is bad.
: Jump editor interrupts and says that lately there's been way too many novices
: submitting stories like "we ended up inside the videogame world!", all of
: them following standard fantasy clichés and being too boring. Kishi &
: Togashi talk a bit more about how you may enjoy a game's system (its fantasy
: mechanics etc.), and while that's fun in a manga too, you can't really
: participate in that world to explore the mechanics, so the most important
: part are the human relationships and conveying empathy.

 （這段我不能保證完整傳遞原意）

  岸本說：在遊戲裡，人物角色是玩家的分身，玩家會覺得故事事件有趣，
          是因為他們可以經歷這些事件。而如果從旁觀者的觀點來看，
          看著同樣事件發生在漫畫角色身上，可就不一定有趣了。

  冨樫說："參與"與"代入"是兩樣不同的事情。

  岸本說：在遊戲裡，劇情變化是因為玩家本人遊玩而發動的，像裝備的選擇，

          來傳遞角色的感情世界。進一步來說，如果過度聚焦在架構世界觀上，

          最後可能流於旁白式的說故事手法，而這是不好的。

 編輯打斷說，近來有太多新人提交出像"我們來到遊戲世界了！" 這樣的故事
 全部都是陳腔濫調的奇幻類作品，而且都很無聊。

 冨樫和岸本談論到，你可能很享受某些遊戲機制，也許運用在漫畫上也不錯，
 不過你不能在漫畫中體會它們，到頭來最重要的部分還是角色人際關係和讀
 者代入這兩方面上。


:   When Togashi was a boy, it was not until his teacher submitted his drawing to
:   an art exhibition that he realized he was good at drawing. Kishimoto had the
:   similar experience when he was in an elementary school.
:   Togashi is impressed at Hayao Miyazaki’s great drawing skill of clothes
:   fluttering.

    當冨樫還小時，他直到畫作被老師投稿參展後，才知道他有畫畫的天分。
    岸本在小學也有類似的經驗。

    冨樫對宮崎駿描繪衣物波紋流動的匠藝印象深刻。


:   Togashi has many things he wants to draw. He didn’t imagine the
:   serialization of Hunter x Hunter has lasted so long.

    富監有很多想畫的，他沒想到獵人會連載這麼久時間


:   Kishimoto is now preparing for his next manga. He has been collecting
:   materials. He didn’t let his editor know about it so far. Kishimoto says
:   he'd like to announce something about it in 2016.

    岸本正在準備下一部新作品，為此他已經著手取材，他還沒讓編輯知道詳情，
    他打算在2016年某個時日宣告相關消息。


:   Togashi wants to draw a card battle manga like Yu-Gi-Oh after he finishes
:   Hunter Hunter although he already drew it in Greed Island arc.

    獵人連載結束後，富樫想要畫向遊戲王一樣的卡牌戰鬥漫畫，雖然在貪婪之島篇


:   Togashi didn’t specify the finale of the dodgeball game in Greed Island
:   arc at the beginning. He believes the chapter in which Hisoka lost and
:   survived were convincing due to his gum ability.

    冨樫說貪婪之島的躲避球篇結局並不是從一開始就設定好的。
    在與團長決鬥的篇章，西索藉助"伸縮自在的愛"這項能力，
    戰敗後仍生存是有說服力的。

:   Togashi is impressed at Hirohiko Araki’s drawing skill and great
:   storytelling.

    冨樫對荒木飛呂彥的畫技和說故事技巧印象良深。


:   After Togashi was about to get tendinitis, he specified the design of the
:   clothes of Zodiacs and his assistants dew them.

    在冨樫快得到肌腱炎時，他設定了12支的服飾，讓助手幫忙畫他們。


:   Togashi says that manga begginer tends to think it is important to draw
:   realistically, but actually it is not a big issue and he says it is more
:   important for the audience to grasp what is going on.

    冨樫說，剛開始畫漫畫的人會想要畫的有真實感，可實際上並沒有必要，更重要
    的是，讓讀者對故事的瞭解能跟上劇情發展才對。


:   Togashi says another himself scolds him “You can draw better than this.”
:   while he is drawing.

    冨樫說當他畫作時，另一個自己會斥責他說"你可以畫的更好的。"


:   Togashi advises those who want to become mangaka to replicate.
:   Togashi didn’t intend to make Hiei into Yusuke’s friend in
:  “Yu Yu Hakusho”. It was due to advice from his editor. Togashi
:   laughs and says if he intended to do so from the beginning, Hiei
:   wouldn’t have been full of eyes.Togashi loves “Reiko the Zombie
:   Shop” by Rei Mikamoto.

    冨樫勉勵那些有志成為漫畫家的人臨摹他人畫作。
    冨樫一開始並沒有打算讓飛影入夥，那是編輯的主意。
    冨樫笑說如果他一開始就有這意圖，他不會讓飛影身上長滿眼睛的。

    像這樣 http://i.imgur.com/6sVhAfA.jpg

    冨樫喜歡 三家本 礼 創作的 " ゾンビ屋れい子 "


:   Kishimoto is cheered up by watching the trailer of “DmC Devil May Cry”
:   again and again.

    岸本一看再看 "DmC：惡魔獵人" 的預告，這作品讓他覺得激賞。

    ---
    遊戲那段請能人補充，我幾乎沒玩遊戲難以體會其中意境

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