Inoue News Archive

[Griffith]

Ouch! That is incredibly damning of his passion for the story. I'm trying to imagine Miura saying something similar about Berserk. It'd be heartbreaking.

Yeah, it definitely makes me appreciate Miura's steady consistency even more.

It came through in everything. When he came back from hiatus, it was inspiring. He was on fire. I remember it when it was being serialized...

I'm interested in hearing more, but I don't agree with this. The Yoshioka were always a stepping stone for Musashi. From his perspective his rivalry with them was symbolic, not personal. It became personal after he swept through them like a storm. But with Kojiro, even from the beginning there was more to their relationship than with any of the Yoshioka.

I think that was the intention, but just as the Yoshioka arc benefited from Inoue being on fire at the time, the relationship with Kojiro has suffered from Inoue's and series' unevenness, especially lately. Like he's trying to make the Musashi/Kojiro connection this "outstanding" or meaningful thing beyond a mere sword fight, and it was certainly poised to be with the way he set up Kojiro, but for me, between the two of them individually, it always feels awkward and like Inoue is grasping at something that's not quite there yet. I mean, a lot of their rivalry is one sided or second hand (it doesn't help that Kojiro is deaf and mute, even to the audience) with people, such as Ittosai, comparing the two. That doesn't exactly get the personal juices flowing, and has anything between them been as riveting as that chance encounter with Ito? Or Musashi's individual relationships with more practical, relatable opponents like Den, Seijuro, Ueda, or even the ten swords of the Yoshioka?

The Yoshioka became more than just a stepping stone because he's already the renowned Musashi because of them, and basically was after his surprise duel with Seijuro, a gifted sword genius himself, not unlike Kojiro. That was Musashi's coming out party where everything flipped, he wasn't the underdog in over his head nymore, and everyone realized this guy had arrived and was truly different, not just from a year before, but maybe apart from anyone else... except for the almost mystical Kojiro!? It's the final question and should be the point everything is building towards, but in a weird way the overtures towards their showdown is what's felt perfunctory or like an obligation, almost like an afterthought even (Inoue tries to bring it around to that, but can't). Anyway, I feel like it's all building toward Musashi deeply regretting killing Kojiro, because he represents such purity in swordsmanship, the kind that Musashi, and Inoue, are struggling to connect to. Whereas I just want to know how he's going to get even with Ittosai; killing Kojiro? =)

Fun to have an active Vagabond thread, even if it's for a somber occasion...

Yeah, even if we're just forcing the issue, I could probably write about any of the above topics at length.

 

[Walter]

Like he's trying to make the Musashi/Kojiro connection this "outstanding" or meaningful thing beyond a mere sword fight, and it was certainly poised to be with the way he set up Kojiro, but for me, between the two of them individually, it always feels awkward and like Inoue is grasping at something that's not quite there yet.

Yeah, it is a little awkward but it doesn't stand out much, to me. The only real problem with Kojiro/Musashi as depicted by Inoue right now is that most of the development between the two has happened when they aren't even around each other. Inoue seems to be grasping at how to develop their relationship/rivalry into something quite different from the novel, while also not wanting to put the two characters in the same space. So of course it's going to result in something slightly stilted.

has anything between them been as riveting as that chance encounter with Ito? Or Musashi's individual relationships with more practical, relatable opponents like Den, Seijuro, Ueda, or even the ten swords of the Yoshioka?

I don't know, maybe it's not riveting, but I like the atmosphere between Kojiro and Musashi. It isn't about bloodlust, or revenge, like all of his other rivalries. It's the pure pursuit of the sword that they each respect in each other. And I think Inoue intentionally wrote in a hint of tragedy about their whole relationship, knowing where it's headed, despite these two in another circumstance could have probably been best friends. Or, maybe that's not where Inoue is headed with it, and the result of the duel will be transcendental for both of them. Will we ever find out? ...

Whereas I just want to know how he's going to get even with Ittosai; killing Kojiro? =)

 

[Griffith]

The only real problem with Kojiro/Musashi as depicted by Inoue right now is that most of the development between the two has happened when they aren't even around each other.

That's probably the main thing bothering me, it's a lot of tell instead of showing us why they should be so connected (though the snowman and stick fight is delightful). I also think it's a bit one-sided because when they're not around each other Kojiro is just doing whatever and it's not like we get to hear him contemplating Musashi or their relationship to each other via the sword.

Inoue seems to be grasping at how to develop their relationship/rivalry into something quite different from the novel, while also not wanting to put the two characters in the same space. So of course it's going to result in something slightly stilted.

I don't know, maybe it's not riveting, but I like the atmosphere between Kojiro and Musashi. It isn't about bloodlust, or revenge, like all of his other rivalries. It's the pure pursuit of the sword that they each respect in each other. And I think Inoue intentionally wrote in a hint of tragedy about their whole relationship, knowing where it's headed, despite these two in another circumstance could have probably been best friends.

That's true, Musashi has been indifferent at best about his opponents, at least when it comes to killing them, whereas I definitely think he'll feel bad about killing Kojiro because he's this unicorn that speaks through his sword. Whereas the novel took the whole "rivalry" to an extreme, making it almost good versus evil. Hell, Musashi still felt bad about killing him in the book and Kojiro was an grinning evil bastard in it. I appreciate that on a certain level though, Musashi evaluating the art rather than the man. I can appreciate there being something more profound than a personal rivalry at the heart of their duel though, maybe something that'll get to the point of Yagyu's philosophy, with Ittosai being the other extreme. There's also the danger of it continuing to be a bit stilted as you put it, or to paraphrase Musashi something that is purporting to be profound, but is actually gobbledygook. Another thing that was totally on point in the Kyoto arc was the philosophy and analysis of and by the swordsmen. It was simple and insightful, even if delightfully off the wall (Musashi was like a door, but became like cotton =).

Or, maybe that's not where Inoue is headed with it, and the result of the duel will be transcendental for both of them. Will we ever find out? ...

Back to the whole unicorn thing... how fucked up would it be if their duel amounts to some sort of a communication first for both of them, Musashi being the only one adept enough to truly comprehend what Kojiro is saying through his sword, like they're truly talking for the first time in harmony with the sword, and then Musashi has to kill him and be alone? Quick, let's write Inoue a letter and get the ball rolling again! Inception!

I'm serious, I care about this shit; Inoue's point almost seems to be Musashi is a fraud that lost all the time! Ittosai needs to be made to see Musashi's superiority either before, during or after the duel to balance the scales. It would be poetic if Musashi was able to do it demonstrating the wisdom of Yagyu since it was something that genuinely confounded Ittosai.

 

[Aazealh]

You guys can't say I didn't warn you to not waste your time on this shit!

 

[Rhombaad]

Haha, I was wondering when Aazealh was going to troll this thread.

 

[Aazealh]

Haha, I was wondering when Aazealh was going to troll this thread.

I held out for as long as I could.
In truth I find it unfortunate though...

 

[Griffith]

You guys can't say I didn't warn you to not waste your time on this shit!

"What's tha matta? Vagabond got you pushing too many pencils?"

I held out for as long as I could.
In truth I find it unfortunate though...

Yeah, it actually makes me grateful how Miura's approach has evolved and endured. He seems steady as ever whereas Inoue has fallen off a cliff.

 

[Aazealh]

"What's tha matta? Vagabond got you pushing too many pencils?"

Yeah, it actually makes me grateful how Miura's approach has evolved and endured. He seems steady as ever whereas Inoue has fallen off a cliff.

Yeah... To be fair it must be really tough, but bailing out mid-story really sucks for the readers.

 

[Eluvei]

Yeah... To be fair it must be really tough, but bailing out mid-story really sucks for the readers.

To be fair he bailed on attempting to tell the story before he bailed on the actual production of the manga, so we were kinda eased into it.

 

[Griffith]

Miusashi defeats Inojiro!

Yeah... To be fair it must be really tough, but bailing out mid-story really sucks for the readers.

Yeah, what's weird is it's not like something he's not good at or should cause him this much trouble, but that seems to be the rub.

To be fair he bailed on attempting to tell the story before he bailed on the actual production of the manga, so we were kinda eased into it.

Ouch, the long knives are coming out for Inoue. =)


It is frustrating as a fan, especially since it's stranger than him just stopping considering the alleged health issues it's caused him, but if doing it genuinely makes him feel bad there's not much to say. The "pressure" on him seems self-inflicted though as clearly nobody is in a position to make him do anything. Best case for the story is he just got a little too involved in it, is stuck right along with Musashi, and needs the time to work it out and have a breakthrough. Worst case is he's got nothing left and just needs to retire and/or do something else.

 

[Hitoshura]

B.LEAGUE × Takehiko Inoue

Inoue talks with 13 players in the 1st year of the Japanese Basketball League. Releases on 9/5.

https://twitter.com/inouetake/status/900617441637617664

 

[IncantatioN]

According to Jump World's FB page -

(this is translated)

The #48 edition of the weekly young jump magazine has revealed that publishing will launch a new magazine for the 2020 Olympic games held in Tokyo.

The New Magazine will be called "for jump", will be in A5 format and the first issue will be dated November 29 at a price of 1,000 Yen (tax not included).

The theme of this magazine will be disability and will be a collaboration between the editors of the weekly young jump and sportiva site.

Your first number will have:

1-Photos and articles about disabled athletes.
2-A manga by Takehiko Inoue (Slam Dunk, Real, Vagabond) that will be named Kamiji! - Yui Kamiji Story-(Provisional Title) in which she tell the life of Japanese tennis player Yui Kamiji.
3-Special episode of tough saruwatari as a tough----, Judo-focused.
4-A new manga, theoretically a series of Youichi Takahashi (Captain Tsubasa) on football for the blind.

 

[Walter]

Hmm, so ah... I guess I'll ask: What about Vagabond?

 

[Hitoshura]

Tokyo 2020 Paralympic Jump cover illustration in color.

2-A manga by Takehiko Inoue (Slam Dunk, Real, Vagabond) that will be named Kamiji! - Yui Kamiji Story-(Provisional Title) in which she tell the life of Japanese tennis player Yui Kamiji.

*Masahiko Aoki

source:
http://natalie.mu/comic/news/254252

Hmm, so ah... I guess I'll ask: What about Vagabond?

¯\_(ツ)_/¯

 

[Griffith]

Hmm, so ah... I guess I'll ask: What about Vagabond?

Maybe we should rename the thread Inoue News & Not News, the latter covering Vagabond.

 

[Hitoshura]

New REAL illustration at Jump Festa 2018.

Source:
https://twitter.com/young_jump/status/942220204527927296

 

[Th3Branded0ne]

Nice!!!

 

[Hitoshura]

Inoue drew a new illustration to commemorate the 50th anniversary of Weekly Shonen Jump.

link if you want to see WSJ 50th anniversary illustrations from other manga artists.
http://www.shonenjump.com/j/50th-shikishi101/

 

[Hitoshura]

Tokyo 2020 Paralympic Jump vol. 2 cover.

 

[Hitoshura]

Inoue recently illustrated this cover for the May 2019 issue of Shousetsu Gendai.

It features special coverage about the winners of the Yoshikawa Prize.The Yoshikawa Prize is named after famous epic novelist Eiji Yoshikawa
and has been awarded for more than 50 years.

This issue also presents in full the novel “Five Rings of Evil” by Tsukimura Ryo'e (winner of Yoshikawa Prize for newcomer in 2013).

There are also pieces by Minakawa Hiroko, Koike Mariko, Sato Takako and Miyauchi Yusuke.

 

[Griffith]

Goddamn did that image get my hopes up it was back. Musashi is looking extra hairy in that shot, moreso than his usually thin bearded self, so it's like I'm seeing the character age/evolve behind the scenes. He's been waiting so long he's gone full beard! This is what counts as development for a series on permanent hiatus. =)

 

[alexderman]

Nice artwork.

 

[IncantatioN]

There's a Manga exhibition at The British Museum from May 23 and August 26 that features Vagabond among many other series.

YT link for the exhibition and Ticket info

Some pictures floating online -

The Guardian reviewed the exhibit and referenced Vagabond:

Next to Yoshitoshi the curators display Inoue Takehiko’s manga series Vagabond, a martial arts adventure story about a swordsman called Miyamoto Musashi. We’re supposed to see a connection – and a curator who showed me round presented it as a comparison of equals – but, artistically, the images from Vagabond are internationalised and all too familiar. The hero looks like a Jedi knight and, with their slick style, these could easily be production drawings for the next Star Wars film.

Gives me the impression that the author does not know it's the other way around ... that Star Wars was influenced by Kurosawa's films and borrows elements from the samurai in terms of visual and overall philosophy/ teaching.

 

[Walter]

Gives me the impression that the author does not know it's the other way around ... that Star Wars was influenced by Kurosawa's films and borrows elements from the samurai in terms of visual and overall philosophy/ teaching.

That's not really what he's saying though. This is an art critic reviewing a manga art exhibit. He wasn't trying to comment on the lineage of Star Wars, rather, he is criticizing the quality and composition of Inoue's images. He's not moved by them, and he thinks they may as well be production art for a movie, not "true" art. And he's contrasting that with what manga art should be, according to him.

Manga can be translated as “pictures run riot” and that is a beautiful description of these late 19th-century masterpieces. The trouble is that, on the evidence of this very odd exhibition, a lot of the riotousness has gone out of Japan’s graphic art since the 1880s. Today’s manga comics may be hugely popular in Japan and have a growing worldwide fanbase, but, as art, they don’t come near the verve and audacity of Kyōsai or Yoshitoshi.

And personally, I feel he's missing the point. Because while the art in manga is absolutely an important component -- and should evoke emotion, feeling, inspiration, etc. -- but the story and pictures work together in a manga. So if he's viewing a standalone art effectively in a vacuum chamber, with no context or attachment to the characters and story, then he's really approaching this in the wrong way. It's like reviewing a movie you watched on mute.

 

[IncantatioN]

That's not really what he's saying though. This is an art critic reviewing a manga art exhibit. He wasn't trying to comment on the lineage of Star Wars, rather, he is criticizing the quality and composition of Inoue's images. He's not moved by them, and he thinks they may as well be production art for a movie, not "true" art. And he's contrasting that with what manga art should be, according to him.

Just re-read the article and I agree with you. On my first read, to me it felt like he was directly speaking of Vagabond by itself and it felt like he was chiming in about the failings of the exhibit a bit more towards the end of the piece. I admit the error in thinking that.