insaneneko (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
insaneneko) wrote2005-05-13 08:53 pm
insaneneko) wrote2005-05-13 08:53 pm
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Loveless - Kouga Yun Interview Part 2
I've been sort of working on this and fiddling and nitpicking on and off for the last month, but I've just gotten sick of "polishing" (read: going in circles) so I'm going to post it so I stop the viscious cycle already. Also, it's very interesting stuff she says (at least to me XD). Part 1 was about the anime, the rest of the interview is more or less about the manga. There is one more part forthcoming. Warning: There are some details that could be construed as spoilers for the manga.
Q: Have you decided how "Loveless" will end?
K: I have, but...
Q: But...?
K: But, my editor is objecting strenuously to it and we're currently fighting about it (laugh). Basically about who dies and who survives...
Q: Then that's about the very last part. How about which mysteries are resolved in what way?
K: Well, the general outline...
Q: How far has the story progressed?
K: Um...I think about halfway. About three more volumes?
Editor: It sounds like only one third of the way through from what I've heard.
Q: How far has the story progressed, in abstract terms?
K: When I counted the number of chapters left I thought there was about half, but each chapter is really long! (laugh) When I think about having those two people settle things or this person doing that....Plus, there's no one that can rival Soubi yet.
Q: That is a big point, isn't it.
K: Right, there's no big, strong man around twenty around, right? The truth is, there is. A person who can grapple with Soubi on an equal basis. He's at least about the same height as Soubi (laugh).
Q: And Seimei...he's somehow turning out to be a bit wicked~.
K: Thank you very much (laugh).
Q: Didn't everyone go "What!?" about Seimei being alive?
K: Until around volume 3, naturally most people thought he was dead. And since I was writing it that way that was the correct way to read it. It's what I like, to have a person who isn't alive...who isn't around to be shown in relief by depicting the people around that person. To sketch out a person who is not there by accumulating memories about that person.
Q: The interesting thing about Seimei is how he's like a different person according to who is seeing him.
K: That's true. At first it was only Ritsuka's view of him as the gentle older brother.
Q: But information that makes that impression seem wrong gradually comes forth...
K: But it's all only one person...The phrase "Living is not simply fun, neither is it simply suffering" can also be applied to people. The various aspects of a single person...There are parts that make a good person, as well as parts that make a bad person. There isn't anyone who only has one aspect. For example, Ritsuka is a cool boy in class when he's with Yuiko, seems very innocent and fleeting when he's with Seimei, and dispirited when he's with his mother--so much so it's hard to think of him as the same person as when he's with Yuiko. But it's when you add all of that up that you get Ritsuka. I wanted to depict something like that, though doing that too much makes it hard as a manga. When a character says something different or has opposing reactions depending on the scene, the people involved or the event, the reader ends up getting thrown this way and that. The most extreme case in this story is Soubi. Even people who like him say, "He's quite elusive. I don't understand him." To a certain extent I deliberately write him like that. I don't mean to give the reader the slip, I'm simply investigating in my own way what will happen if he acts according to his feelings at the time. The idea is not so much about being inconsistent, but rather about not having to act for the convenience of the story. In reality people's words and feelings change, right? I thought it'd be okay if [my characters] were elusive if I could depict that flexibility.
Q: It's easier to write short-tempered people as always mad, but they also have times when they feel timid. Though it's harder to depict that kind of thing, is that what you want to do?
K: That's right, I think that's interesting. For example, if I do that in a 32 page one shot, someone might point out to me that "Here and here run counter to each other." I'd want to force it to work because it might be possible if I could get the space! If have the pages I can depict the "transformation." As to whether it's bad to be inconsistent, I don't necessarily think it's bad. There are times when people's actions are consistent and there are times when they aren't. I want to write with that kind of realness or naturalness.
Q: And that applies especially to Soubi.
K: Yes. The reason why people can't understand Soubi easily is--despite the fact that he shows up so much he even has monologues--because they can't see who he really loves, who he's listening to, and who he's rejecting. You probably can't glimpse his true feelings until about volume 5.
A: Is that because Soubi himself doesn't know either?
K: Yes yes, that's it. I plan on making the moment when the fog-like something blanketing Soubi's mind is completely lifted and he realizes what it is he seeks and what he wants to do the climax of the story. He's given up. He's despaired and abandoned [everything]. He doesn't care about himself or about others, though he is swayed by liking Ritsuka a bit or feeling like he should listen to Seimei. The feeling that "It does matter!" will well up from within him, and that will be the climax.
Q: Is that the focal point of the theme?
K: Yes, that's right. Most people live their everyday lives with an attitude of "Oh well, it doesn't matter." But I want to do a story where it does matter, with the idea of "being reborn" in mind...People are born as babies. But their birth isn't from their own volition. Their lives start regardless of them. Ritsuka and Soubi have both failed somewhere. It wasn't supposed to be this way...They weren't able to proceed towards the ideal that they want to be, and ended up going in a different direction. I think there are a lot of real people who wonder what they should do in that situation, because they don't like how they are now very much. What can they do then? They can say "This time I'm going to remake myself." That can be triggered when they feel that "It does matter!" That life isn't trivial, that they want to start over, that they want to change...But Ritsuka and Soubi are both lacking the internal strength to do that. And so they have to change little by little as they interact with others and as the situation changes. When someone is trapped in a shell, unable to escape even though they want to, one can be deeply moved when a crack is formed for some reason and that person can emerge [from that shell]. That's why this is not a story of someone who dies while still an egg. Even as they receive assistance, they break the shell from the inside and make themselves over once again. I want to make that the climax of the story.
But the story from now will be extremely serious...(wry laughter). It's dark...I worry about how far to take it, because even I think it's depressing. Should I just make it thoroughly depressing, or by some means...I wonder...What kind of things makes readers feel bad? Can I even write something that will make people feel bad?...I think that to make people feel bad would be pretty great (laugh). As a writer, being told that "I felt bad when I read [your work]" is great in and of itself. I want to challenge myself to do that, but it'd be hard on me if I was told "I couldn't read this" (laugh). I really respond to the idea that the more intense the distress the more a person can gain from it, and I've brought some of that feeling into "Loveless." Kind of like "the more danger the more honour." Or not. (laugh)
+++++
Heh, I really liked Kouga-sensei's replies. I can't really speculate where she's going with the manga (since I'm usually dead wrong) but it makes me think. I feel like I understand where she's coming from a little bit more. I can't imagine Loveless ending in three volumes, though. Maybe she can't count (or the editor is right and we're only 1/3 of the way through...). :P
Q: Have you decided how "Loveless" will end?
K: I have, but...
Q: But...?
K: But, my editor is objecting strenuously to it and we're currently fighting about it (laugh). Basically about who dies and who survives...
Q: Then that's about the very last part. How about which mysteries are resolved in what way?
K: Well, the general outline...
Q: How far has the story progressed?
K: Um...I think about halfway. About three more volumes?
Editor: It sounds like only one third of the way through from what I've heard.
Q: How far has the story progressed, in abstract terms?
K: When I counted the number of chapters left I thought there was about half, but each chapter is really long! (laugh) When I think about having those two people settle things or this person doing that....Plus, there's no one that can rival Soubi yet.
Q: That is a big point, isn't it.
K: Right, there's no big, strong man around twenty around, right? The truth is, there is. A person who can grapple with Soubi on an equal basis. He's at least about the same height as Soubi (laugh).
Q: And Seimei...he's somehow turning out to be a bit wicked~.
K: Thank you very much (laugh).
Q: Didn't everyone go "What!?" about Seimei being alive?
K: Until around volume 3, naturally most people thought he was dead. And since I was writing it that way that was the correct way to read it. It's what I like, to have a person who isn't alive...who isn't around to be shown in relief by depicting the people around that person. To sketch out a person who is not there by accumulating memories about that person.
Q: The interesting thing about Seimei is how he's like a different person according to who is seeing him.
K: That's true. At first it was only Ritsuka's view of him as the gentle older brother.
Q: But information that makes that impression seem wrong gradually comes forth...
K: But it's all only one person...The phrase "Living is not simply fun, neither is it simply suffering" can also be applied to people. The various aspects of a single person...There are parts that make a good person, as well as parts that make a bad person. There isn't anyone who only has one aspect. For example, Ritsuka is a cool boy in class when he's with Yuiko, seems very innocent and fleeting when he's with Seimei, and dispirited when he's with his mother--so much so it's hard to think of him as the same person as when he's with Yuiko. But it's when you add all of that up that you get Ritsuka. I wanted to depict something like that, though doing that too much makes it hard as a manga. When a character says something different or has opposing reactions depending on the scene, the people involved or the event, the reader ends up getting thrown this way and that. The most extreme case in this story is Soubi. Even people who like him say, "He's quite elusive. I don't understand him." To a certain extent I deliberately write him like that. I don't mean to give the reader the slip, I'm simply investigating in my own way what will happen if he acts according to his feelings at the time. The idea is not so much about being inconsistent, but rather about not having to act for the convenience of the story. In reality people's words and feelings change, right? I thought it'd be okay if [my characters] were elusive if I could depict that flexibility.
Q: It's easier to write short-tempered people as always mad, but they also have times when they feel timid. Though it's harder to depict that kind of thing, is that what you want to do?
K: That's right, I think that's interesting. For example, if I do that in a 32 page one shot, someone might point out to me that "Here and here run counter to each other." I'd want to force it to work because it might be possible if I could get the space! If have the pages I can depict the "transformation." As to whether it's bad to be inconsistent, I don't necessarily think it's bad. There are times when people's actions are consistent and there are times when they aren't. I want to write with that kind of realness or naturalness.
Q: And that applies especially to Soubi.
K: Yes. The reason why people can't understand Soubi easily is--despite the fact that he shows up so much he even has monologues--because they can't see who he really loves, who he's listening to, and who he's rejecting. You probably can't glimpse his true feelings until about volume 5.
A: Is that because Soubi himself doesn't know either?
K: Yes yes, that's it. I plan on making the moment when the fog-like something blanketing Soubi's mind is completely lifted and he realizes what it is he seeks and what he wants to do the climax of the story. He's given up. He's despaired and abandoned [everything]. He doesn't care about himself or about others, though he is swayed by liking Ritsuka a bit or feeling like he should listen to Seimei. The feeling that "It does matter!" will well up from within him, and that will be the climax.
Q: Is that the focal point of the theme?
K: Yes, that's right. Most people live their everyday lives with an attitude of "Oh well, it doesn't matter." But I want to do a story where it does matter, with the idea of "being reborn" in mind...People are born as babies. But their birth isn't from their own volition. Their lives start regardless of them. Ritsuka and Soubi have both failed somewhere. It wasn't supposed to be this way...They weren't able to proceed towards the ideal that they want to be, and ended up going in a different direction. I think there are a lot of real people who wonder what they should do in that situation, because they don't like how they are now very much. What can they do then? They can say "This time I'm going to remake myself." That can be triggered when they feel that "It does matter!" That life isn't trivial, that they want to start over, that they want to change...But Ritsuka and Soubi are both lacking the internal strength to do that. And so they have to change little by little as they interact with others and as the situation changes. When someone is trapped in a shell, unable to escape even though they want to, one can be deeply moved when a crack is formed for some reason and that person can emerge [from that shell]. That's why this is not a story of someone who dies while still an egg. Even as they receive assistance, they break the shell from the inside and make themselves over once again. I want to make that the climax of the story.
But the story from now will be extremely serious...(wry laughter). It's dark...I worry about how far to take it, because even I think it's depressing. Should I just make it thoroughly depressing, or by some means...I wonder...What kind of things makes readers feel bad? Can I even write something that will make people feel bad?...I think that to make people feel bad would be pretty great (laugh). As a writer, being told that "I felt bad when I read [your work]" is great in and of itself. I want to challenge myself to do that, but it'd be hard on me if I was told "I couldn't read this" (laugh). I really respond to the idea that the more intense the distress the more a person can gain from it, and I've brought some of that feeling into "Loveless." Kind of like "the more danger the more honour." Or not. (laugh)
+++++
Heh, I really liked Kouga-sensei's replies. I can't really speculate where she's going with the manga (since I'm usually dead wrong) but it makes me think. I feel like I understand where she's coming from a little bit more. I can't imagine Loveless ending in three volumes, though. Maybe she can't count (or the editor is right and we're only 1/3 of the way through...). :P