Q1
Please tell us about any scenes or moments that are particularly memorable to you, or that you're particularly fond of.
A1
I really enjoy all the magical chaotic comedy that forms the basis of the manga. The story in which Kanshi becomes ten times faster is particularly popular with readers, so it left an impression on me as well. Since I also want to depict how the characters gradually grow and how their relationships change over time, so I find it fun to draw those kinds of developments, as well as storylines that weren't part of my original plan.
Q2
What is your present work environment like? Is there anything you consider indispensable when working?
A2
I do all my work in a digital environment, from the storyboards to the final pages. Since I don't take any of it outside, I'm always sitting in front of the computer in my office, drawing on my drawing tablet. Other staff used to come to the office as well, but since we've kept to a remote workstyle since the pandemic, I'm always by myself in the office nowadays. My computer is the most indispensable thing for me when working. I'm constantly afraid of it crashing, as that basically would bring my work to a complete halt. Otherwise, there's nothing in particular I feel like I need. I do tend to work while sipping the coffee I brewed that morning from an insulated mug.
Q3
Are there any characters you're particularly fond of? Please tell us your reasons if so.
A3
My favorite character is one of the protagonists, Morihito. He's not a character who's particularly easy to write for, nor is his personality particularly easy to understand, so in that sense he's been a bit of a challenging character for me—which is why I feel attached to him.
Q4
Is there anything you try to keep in mind when writing/drawing the manga?
A4
I always try to keep readability in mind. No matter how good a work is, it's meaningless if nobody reads it. Given that even the slightest distraction can result in a moment being less funny than intended, the ideal is a manga that the reader can absorb smoothly without any frustration. This requires skill, and I can't say that I've managed to reach that point myself yet, but it's something I always want to aim for.
Q5
There have been many types of magic featured in the manga up to now. How have you come up with so many unique varieties of magic?
A5
The basic concepts come from things that often appeared in children's manga such as "Doraemon", which a lot of people are familiar with from childhood—so in themselves, they aren't particularly new or original. As such, I try to place the emphasis on other interesting details such as the conditions for the magic's use and imagining what situations would realistically occur if that magic was used in everyday life. Since the characters are more important than the magic, I also try to use it as a stage to showcase each character in interesting ways, such as how they react to or deal with the situation.
Q6
The foreshadowing and subsequent payoff are done very well, and overall, the story feels very skilfully crafted. Is there anything in particular you keep in mind when putting together the story?
A6
Manga with self-contained stories in each chapter need to be interesting, or they'll quickly be forgotten. It's important that they have some sort of extra spice to them, or leave the reader surprised or impressed at the end, so I put particular effort into making the ending or payoff interesting. It’s not just limited to payoffs, but to maximize the effect of a certain scene, it's also necessary to have a good setup, so I try to always create aone. Working backwards naturally shows what setup is necessary. "Foreshadowing" is just a fancy word for this process, and I'm always trying to think of how to sneak setups into every scene.