All the hardships are in vain.

-Today, the secret language behind "No Sadism Times Drama" was announced!

As a fan of this book, I posted an interview with Gui You Yamaguchi here.

Gui You Yamaguchi, a cartoonist, is talking about this cartoon called "Death Mania (Fighting for the Life and Death of a Chivalrous Man)".

Every word is as hot as Yamaguchi's own flesh and blood.

The following is a must-read interview for fans of Crazy Death!

Q: Excuse me, Mr. Yamaguchi, why is this comic that has been serialized for four years and has not yet ended?

A: At the beginning, the editor-in-chief asked me to create a cartoon with the materials in the Trial of Suruga City. In this novel, the chapter "Opposing the Trend of Ignorance" expresses Mr. Norio Nanjo's unique world outlook in a particularly profound way. I found that all the characters in the original work have strong desires, their hatred, their sadness ... the plot deeply attracted me.

Q: Do other novels have this charm? For example, Ji Chuan's "Musashi Miyamoto" can be used as the material of your cartoon?

A: It doesn't feel right. The book Musashi Miyamoto is a guide to the behavior of young people on the battlefield in the Pacific War. It is not so much a martial arts novel as a spiritual textbook, but the image of swordsman in reality is far from perfect. The reason why I like Mr. Nan tiao's "Ignorance Countercurrent" is precisely because it fully depicts the ugly side of martial arts humanity. At that time, another reason for choosing "The Stream of Ignorance" was because of the length of comics. The shorter the original, the better.

Q: It is said that at the beginning, I planned to draw "The Backward of Ignorance" into a cartoon with only about 30 pages. Why is it so much now?

A: No, no, 30 pages is too exaggerated. I wanted to draw it into 2-3 comic books. But after reading my drawings, the editor-in-chief praised them greatly and even adjusted the length of the whole time drama magazine. It was killing me, so I had to cram such a long article into my original plan to draw a short story. Later, I drew the first book, then the second one, and after the second one was finished, I drew the third one. . . After painting the third book, I don't know how to keep the story going. This feeling is like creating a new story from the original, and it is like being left in the middle of the desert.

Q: But this cartoon is so successful, I guess you must finally find a creative way ...?

A: Cao, I finally found it and hit the wall. I was just about to draw a six-volume battle between Irago and Tiger's Eye. As a result, the editor-in-chief adjusted it into the present book. The editor-in-chief is a person who has the vision of both a cartoonist and a painter. Before the decisive battle between Irago and Tiger Eye, I worked hard with him. The editor has made great contributions to the continuation of this cartoon ... To tell the truth, after Tiger Eye died, I was a little distracted and at a loss, but the story will continue. With the dialogue of "How is this scene drawn" and "This painting is really good", the creation of this cartoon will continue. I read it again from beginning to end when I finalized it, and I was finally satisfied. The editor-in-chief and I have the same perspective on the story itself, which is why we have a happy cooperation.

Q: How did you get the inspiration for those plots that were not in Mr. Nan Tiao's original work?

A: If you draw quickly and draw more, inspiration will come naturally. I'm not a cartoonist like Mr. Osamu Tezuka who can predict what to draw on page 1000 from the beginning, but I can guarantee that there is a necessary connection between the first scene of the cartoon and the scene of 1000. For example, the idea that Tiger Eye has six fingers came up when I was painting to show his abnormality and horror. Later, I overheard the historical scholar Shi Ye's textual research on Toyotomi Hideyoshi. It is said that Toyotomi Hideyoshi also has six fingers, so I associate Toyotomi Hideyoshi's information with the story of Tiger Eye (in the cartoon, Tiger Eye was framed by yagyu munenori). I think these details greatly deepen the connotation of the story and extend the breadth of the story. However, it is incredible that all this is just accidental inspiration. But at the end of each comic, I brazenly said, "The next issue is my treat." (Laughter)

Q: I hold my thoughts repeatedly, so the story goes on over and over again. Well, by the way, I also noticed that there seems to be very little dialogue in Dead. ...

A: It was deleted on purpose. This style was learned from Riley Scott's Alien, which kept only the minimum necessary dialogue. People in real life don't suddenly speak in a descriptive tone, and there won't be a dialogue as delicate as lines. Without dialogue, comics will have a sense of reality. This technique is very useful in describing the nervous atmosphere of the audience.

Q: How did you conceive those strange moves that were not in the original?

A: Because I like fighting martial arts very much, I practice karate and kendo by myself. I believe that "all thoughts come from actions". So when I get pregnant, I will stand still, pretend to have a sword in my hand, and then attack. Once you realize that the sword is just an extension of the hand, it will be very easy to conceive the action in the cartoon. It is also easy to verify these actions. I hung a sandbag in my room, hit it once or twice, and the action was confirmed. By the way, my neighbors are confused by me. (Laughter)

Q: Other characters in Suruga City, such as Kensuke Qumu and Yukosuke Yuegang, also occupy a lot of space in comics, but they are not the characters in the chapter "Fighting against the flow of ignorance" ...

A: I want to enrich the content of Dead. In order to achieve this goal, it doesn't matter even if the main story is delayed. This kind of digression is indeed risky, but I personally hate to be afraid of and restrict the handling of Die Mad just for the sake of pursuing so-called "safety". I don't think it's necessary to break away from the main plot and say something else. Even the scene of stubborn help defecation-although it has nothing to do with the story at all (laughs)-I still draw very happily. Yes, I hate copying the original text without modification. That's too easy, that is, the tortoise lives forever (laughs).

Q: However, the theme of Die is very different from other cartoons that Mr. Yamaguchi is creating.

A: This is related to the theory of "Wukong Daoism" and even "Brave Gravity". Similarly, I can add the "dreams and hopes" commonly used in other cartoons to Crazy Death, but on the contrary, I choose to make this cartoon full of wildness and portray a terrible murderous look by artistic means. We want to impress readers, and we want readers to cry. Can't we write "Die without regret" like this? So I focused on describing the inner fear, strong hatred and love of the characters in the cartoon. For example, Tiger Eye's concubine, Ayu, had a hard life because she fell in love with Irago. This kind of hardship is not only physical pain, but also the sadness and ruthlessness of fate. This is the "cruelty" in Mr. Norio Nanjo's original works.

Q: Finally, please ask Mr. Yamaguchi to talk about his ideas about this cartoon.

A: If the purpose of drawing Dead is to make every reader like it, it is better not to draw it. It is always difficult for everyone to adjust. However, with every new reader of Crazy Death, I feel stronger. I will paint hard, forget all about eating and sleeping, and devote all my energy to the creation of every scene of Die Mad.

Finally, a few words that have nothing to do with the original text are about this work. After reading Masaki Kobayashi's "Abdominal Incision", we can have a deep understanding of the distorted Japanese Bushido spirit. The more you read some works, the more you can find that they are a contradictory nation. The so-called "national spirit" means that they have no virtue and fear of power, no righteousness is subject to small gifts, and they blindly advocate strength, but they are always unpopular!