Ken Niimura: An “overseas” manga-ka comes “home” http://pingmag.jp/2013/12/23/ken-niimura/
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Since 2010 Japan has been trying to use the soft power of its pop culture to promote itself. This includes manga and anime, but how popular are they really abroad? (Feel free to let us know in the comments section!)
On the other hand, the reverse is happening too. Overseas comics are gaining in strength in Japan, as witnessed by the Gaiman Awards and the International Manga Fest.
We’re still many years from this but one day people will be able to come into contact equally with all kinds of comics — whether it be Japanese manga, bandes dessinées, or American comics.
One artist in particular has been responsible for making this happen and that’s Ken Niimura.
Spanish Roots
We met Niimura at the editorial offices for IKKI, the monthl magazine published by Shogakukan. Niimura is publishing ‘Henshin’ on a special website run by IKKI for online comics.
When did you start to draw manga?
As long as I can remember I was always drawing something. I just love books and I used to enjoy drawing something on paper and then stapling them together to make a book. I never really thought about why I liked them, I just did!
You were born in Madrid. How long did you live there?
I lived there for a long time after I was born. We’d go home about once every two years when my father visited Japan, where his family home was. I lived in Spain until I graduated from college.
In Madrid there’s the Museo del Prado. Were you influenced by these art museums?
We went to see the art museums when I was in elementary school but I just couldn’t see what was so good about them! [Laughs] Of course, I could tell they were very well painted but they just didn’t do anything for me. Oil paintings are rather dark in tone, right? For a elementary school kid like me, it just wasn’t fun. But I like sketching so I started taking lessons from around ten years old. And then in high school I chose to take art classes, so my trajectory has always been along these lines.
When you were young you would draw manga and then staple the pages together to make a book. But when was it that you really started working as a manga-ka?
Well, the way I feel is the same now as it was back then, so it’s not like anything major changed. But if I had to say, I guess it was when I was about 15. Then I decided what to do with a friend and for seven years I drew yomikiri one-shot comics and made them into dojinshi.
Niimura’s debut work, ‘Underground Love’.
So how did you then become a professional manga-ka?
While I was doing this, I made my commercial debut in Spain when I was a sophomore college student. This was in a format a bit different to Japanese comics. It was more like American comics, a 32-page comic where there were five other works. But it was an extension of what I had been doing up till then. It didn’t feel like I had suddenly turned professional. I felt like I wanted to keep on studying.
I didn’t have to major in anything when I studied fine art at college so I could study photography, design, croquis, oil painting and all kinds of things. I always felt like I wanted to be a manga-ka but I wasn’t necessarily only focused on that. For example, if I studied widely I could do another job rather than work as a painter, and still draw manga on the side. During college I also studied for a short time at an art college in Belgium where I could learn about picture books.
‘I Kill Giants’
The Japanese edition [left] of ‘I Kill Giants’ with the American edition [right]. The Japanese edition comes in a size often used for seinen manga while the US version is considerably larger, 20.5 x 28.3cm. ‘I Kill Giants’ was written by Joe Kelly with art by Ken Niimura. The Japanese translation is by Akihide Yanagi.
How did you come to do the artwork for ‘I Kill Giants’?
In Spain, like how you have Comiket and Comitia in Japan, there is the Salón del Cómic de Barcelona, and I exhibited my work there with a friend. And at one of these competitions Joe Kelly, the writer of ‘I Kill Giants’, spoke to me and later asked me to be the artist for the comic. I did it over a year while I lived in Paris and it was published in 2009. The three or four years since then have taught me a lot as a manga-ka. And thanks to ‘I Kill Giants’ I have been invited to competitions in many countries like Finaland, Italy and America.
With ‘I Kill Giants’ you career suddenly exploded, then?
Yes, right. I was a colorist for Marvel’s ‘Amazing Spider-Man’. I did lots of things for the first time and it was a lot of fun. But as result, though, while it was very valuable to create lots of different kinds of work, it is tough to think of this as a career. I thought I needed more chances to try my own things. And that’s why I ended up coming to Japan.
A comparison of pages-in-progress in the Japanese and American editions. Translating the comic in Japanese increases the number of words so the speech bubbles had to be bigger. After Niimura finished the pages, they were scanned and then the speech bubble and frame layers adjusted using Illustrator.
To sum up, you graduated college and then went to Paris where you drew ‘I Kill Giants’, and then after that came to Japan.
To be accurate, I graduated college in 2006 when I was 24 and then went to Paris, where I stayed till 2009. After that I lived all over the place in various countries and then came to Japan in September 2011. In Paris I also worked on an essay manga for a Spanish website giving information on the cafes and shops and so on in Paris.
But why Japan?
Well, I had visited Japan before so I knew the kind of place it was, plus the working style for manga was different. With bandes dessinées, the editors don’t tend to chip in when the comic is being made. After an initial meeting where you talk about what to make, they wait until the artist has finished it. For me, I felt uneasy about this way of working since I couldn’t be sure if I was making something good.
On the other hand, in Japan both the story and the artwork are made together with the editor through a process of meetings. I felt this was a better working style for me. When I was doing the artwork for ‘I Kill Giants’ the American editor also didn’t intervene at all with my art. While we could say this is very courteous, I felt very uneasy. Of course there are lots and lots of artists who can make a manga all by themselves but I think you are a genius if you can make something good like that. It’s not my style.
Niimura’s working space. It feels a bit retro with its Showa-era miscellanea. He likes to have things where he can sense history. Even when he was a child he apparently preferred to listen to the music from his parents’ generation rather than the latest hits that his classmates were talking about.
Creating manga in the Japanese production style
So how was it creating ‘Henshin’ in the Japanese working style?
I would draw the storyboard and show the editor, and then we’d talk about various parts and I’d revise some things. Once I got the okay I’d start on the manuscript. I really could feel that this method produces good work. I’ve definitely become able to write better scripts than before.
Draft manuscripts for the fourth installment of ‘Henshin’. Niimura says he sometimes tries up to six different versions of frames, such as the way the lines are drawn or the characters. He adjusts details such as the elastic cord on the underwear of a character.
A manuscript for the fifth installment, where all the lines have been drawn with a brush. Note how the girl’s hair and the direction of the light are all very carefully drawn.
A manuscript for the nineth installement. The sophisticated brushwork for the rain, river, people and buildings is striking.
The artwork for ‘Henshin’ and ‘I Kill Giants’ is very different, isn’t it?
With ‘Henshin’ I concentrated on making it easy to read while ‘I Kill Giants’ is more cinematic, with its darker scenes and use of contrasts in the shadows. I use pens to draw lines and then a Japanese brush with calligraphy ink. Then I add gray tones on the computer. I use watercolor paper for the manuscript sheets, which creates a texture when printed. It’s like how you can create noise effects on Photoshop. If it’s too clean it won’t fit with the manga, so I make it so that the amount of information fits. This is my first time to create a 200-page manga and also to do it the whole way with the same drawing method. It feels very experimental for me.
Do you have a certain theme you like when drawing manga?
That’s a tricky one… I guess it’s to do with communication. But not in the sense about not being able to convey something to someone with words. More about connecting with others without needing to speak. I think you can find that in the minutiae of everyday life and it’s fun to draw it, because some things really just can’t be communicated.
A sketch featuring rough ideas. “I think in Japanese, English and Spanish, depending on the occasion,” says Niimura. From the sketches it seems that Niimura thinks not so much in still images but almost like a video.
The storyboard is divided into four sections over four sheets of A4 paper.
A rough sketch for the eleventh installment of ‘Henshin’. The cute cat comes from Niimura’s daydreams about one wanting to have his own pet.
What are your future plans?
Right now I’m focused on the paperback edition of ‘Henshin’ and a collection of short manga to be released in Spain next year. I also want to start preparing for a new manga, something which everyone will find interesting!
Thank you, Ken Niimura.
What we learnt about Niimura during our interview was how manga was such a natural part of him. While countries like Japan are trying to spread the content they produce out into the world, it’s a different case entirely for the creators of the content. For them, as long as they have the right environment, they can work anywhere. Perhaps a solution to Japan’s problems in the anime and manga industries is to set up places for manga-ka working overseas to come and work in Japan.
Niimura also kindly drew this picture for our interview.