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    Production Naruto

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    meodingu

    Posts : 143
    Join date : 2010-09-23

    Production Naruto

    Post  meodingu on Sun Sep 26, 2010 1:54 pm

    Masashi Kishimoto first created a one-shot of Naruto for August 1997 issue of Akamaru Jump.[1] Despite its high positive results in the reader poll, Kishimoto thought "[the] art stinks and the story's a mess!" Kishimoto was originally working on Karakuri for the Hop Step Award when, unsatisfied by the rough drafts, he decided to work on something different, which later formed into the manga series Naruto. Kishimoto has expressed concerns that the use of chakras and hand signs makes Naruto too Japanese, but still believes it to be an enjoyable read.[2]

    When originally creating the Naruto story, Kishimoto looked to other shōnen manga as influences for his work, although he attempted to make his characters as unique as possible.[3] The separation of the characters into different teams was intended to give each group a specific flavor. Kishimoto wished for each member to be "extreme," having a high amount of aptitude in one given attribute yet be talentless in another."[4] The insertion of villains into the story was largely to have them act as a counterpoint to the characters' moral values. Kishimoto has admitted that this focus on illustrating the difference in values is central to his creation of villains to the point that, "I don't really think about them in combat."[5] When drawing the characters, Kishimoto consistenly follows a five-step process: concept and rough sketch, drafting, inking, shading, and coloring. These steps are followed when he is drawing the actual manga and making the color illustrations that commonly adorn the cover of tankōbon, the cover of Weekly Shōnen Jump, or other media, but the toolkit he utilizes occasionally changes.[6] For instance, he utilized an airbrush for one illustration for a Weekly Shōnen Jump cover, but decided not to use it for future drawings largely due to the cleanup required.[7] For Part II, the part of the manga beginning with volume 28, Kishimoto said that he attempted to not "overdo the typical manga style" by not including "too much deformation" and keeping the panel layouts to make it easy for the reader to follow the plot. Kishomoto said his drawing style changed from "the classic manga look to something a bit more realistic."[8]

    Kishimoto added that, as Naruto takes place in a "Japanese fantasy world," he has set certain rules, in a systematic way so that he could easily "convey the story." Kishimoto wanted to "draw on" the Chinese zodiac tradition, which had a long-standing presence in Japan; the zodiac hand signs originate from this. When Kishimoto was creating the setting of the Naruto manga, he initially concentrated on the designs for village of Konohagakure, the primary setting of the series. Kishimoto asserts that his design for Konohagakure was created "pretty spontaneously without much thought", but admits that the scenery is based on his home in the Okayama prefecture in Japan. Without a specific time period, Kishimoto included modern elements in the series such as convenience stores, but specifically excluded projectile weapons and vehicles from the storyline. For reference materials, Kishimoto performs his own research into Japanese culture and alludes to it in his work.[9] Regarding technology Kishimoto said that Naruto would not have any firearms. He said he may include automobiles, aircraft and "low-processing" computers; Kishimoto specified the computers would "maybe" be eight-bit and that they would "definitely not" be sixteen-bit.[10] He has also stated that he has a visual idea of the last chapter of the series, including the text and the story. However, he notes that it may take a long time to end the series since "there are still so many things that need to be resolved".[11]

    When asked about what was Naruto's main theme during Part I, Kishimoto answered that it is how people accept each other citing Naruto's development in such part. Since being unable to focus in the romance during Part I, Kishimoto that during Part II he was to emphasize this theme more, despite finding it difficult.[12]


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