#bleach jet
ABOUT COLOR ILLUSTRATION
In response to 5 of the published illustrations, newly drawn specifically for use in this artbook, we reveal the inside story concerning its creation.
ABOUT TITE KUBO HIMSELF
This section delves deeper into Kubo sensei’s hobbies and tastes which harbour a diverse background ranging from the likes of music, architecture and product design, as well as addressing his personal mode of thought.
Here is my translation of Kubo’s character sheet for Renji and Rukia’s childhood friends. I know a lot of people have always wanted to know their names but I think no one had shared this information among the western fanbase yet!
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Once the outcome of the battle between Ichigo and Renji had been determined, chapter 98 is where Renji entrusts Ichigo with the rescue of Rukia. This is the character sheet of the three childhood friends who appeared in Renji’s recollections during that moment. Character names, traits and so on are revealed to the world for the first time!
(From left to right)
藤丸 - Fujimaru
He is the tallest of the group.
Has a strong sense of responsibility and is the witty one.
小三郎 - Kosaburou
Quiet.
He is a hard worker despite his appearance.
マメ次 - Mameji
Is usually the butt of the joke.
Timid but good with numbers.
Translator’s Notes:
I believe Mameji gets his name from the fact that he’s small! ‘Mame’ is often used in Japanese for small things.
ABOUT BURN THE WITCH
Published in Weekly Shōnen Jump’s 2018 issue 33, the “BURN THE WITCH” One-shot drew a grand response. The sequence of events which lead to its composition and the inside story are revealed for the first time.
—— J: Now we move to the final subject matter, these are questions regarding “BURN THE WITCH” contained in the booklet.
Q.50:Around when does the setting of “BURN THE WITCH” occur in relation to “BLEACH”?
Kubo: “BURN THE WITCH” is a tale that takes place 12 years after the final battle of “BLEACH”, and 2 years after the concluding chapter.
Q.51: The West Branch [of Soul Society] was revealed in “BURN THE WITCH”, but what kind of world is the North and South Branch?
Kubo: From the start it was a manga I had drawn solely for the purpose of declaring that “hey there’s also a branch in the West.” I drew it in order to get the readers to expand their imagination by asking “if there’s one in the West, could there not be more in other places too?”
—— J: Is “BURN THE WITCH” an idea that had been kneaded out during the serialisation of “BLEACH”?
Kubo: That’s right. The “East Branch” appears in only a single mention within bleach, although the concept had been established at the time, I felt that the main plot would be unable to progress if I proceeded to draw as far as both East and West. I tried not to dwell on it because otherwise I’d grow worried thinking “when will ‘BLEACH’ come to a conclusion!?” So I thought perhaps there is no longer any need to depict the subject of East and West.
Then, the current editor-in-chief Nakano-san came with a request saying that he wants me to draw a one-shot composition on this occasion; when he asked me, “do you want a continuation of 'BLEACH’, or would you prefer a new work that’s entirely separate”, I said “naturally, I want to try my hand at a new work as well, but there’s a live-action movie adaptation too so I also want it to be 'BLEACH’. In that case may I draw two pieces?” (Laughs)
So I composed it after saying “well then I’ll draw something that can be read like a new work, but it will develop into 'BLEACH’.” Though, I think I had no idea what I was even talking about until I was finished.
—— J: The space in the title at the end of the manga has been shaded in so that it can be read as “BLEACH”, I didn’t notice it at first.
Kubo:Seems like there’s quite a number of people who aren’t aware of it. However, I think it would be nice if those who haven’t noticed go “no way!?” after hearing this information from somebody else. It started with devising the title of “BURN THE WITCH” first, I reached a result after wondering whether or not I could somehow connect this to “BLEACH”, I thought it would be cool to scratch the letter “W” here. It was a good idea to create this using the typeface design, but after thinking that the way it’s revealed during the action is what leaves an impression, I incorporated it into the story.
—— J: There are many cute designs for the accessories too. Their guns for example are especially cute.
Kubo: They were originally horns rather than guns. I decided that “the rearing of dragons would make a good story”, I thought “speaking of 'rearing’, isn’t that kind of like a shepherd?” and that’s when I had them carry horns. Then, I was struck with an idea thinking “if I turn the horn upside down, it ends up looking like a gun”, which is how it evolved to this current form. Incidentally, I was thinking about their outfits at the same time too, so the pattern on their capes became a shepherd’s plaid.
—— J: Is the title “BURN THE WITCH” from a Radiohead song?
Kubo:That’s right. After hearing the original title, I thought it had a nice ring to it. The contents of the story is completely unrelated to the contents of the song though.
—— J: Some points of similarity between Hollows and dragons have also been vaguely depicted, right?
Kubo: Upon reading it back, I was pretty much like “oh, come to think of it, these things remind me of Hollows.” I thought, if anything, the dragons should have a design that didn’t overlap with Hollows, the mere fact that they 'have horns’ was made into a distinct characteristic of dragons. The scene where all those dragons appear was composed after I hoped to achieve a game-like feel, or the atmosphere of a game similar to “Monster Hunter” or “Dragon Quest Builders”. That was a lot of fun for me because it was a concept introduction page, something I didn’t get to do much of in the original story of “BLEACH”.
—— J: I did get the impression that the more enjoyable aspects are portrayed in the worldbuilding rather than the battles.
Kubo:Yes, that’s true. I tried to keep battles to a minimum. Although I sensed that I started with some reluctance after receiving this task, it was more enjoyable than I expected once I began drawing. I suppose this is because I was able to put forward concepts that could not be made to appear with regard to the flow of the story in “BLEACH”.
—— J: So did it feel like you had wrapped things up in one go?
Kubo: As a matter of fact, only the opening monologue had been drawn instantaneously. Before deciding on the characters that I would have enter the stage, the words “I like uniforms” sprang to mind, when you hear the line “I like uniforms”, it sounds like a lewd remark, however I wondered whether or not there could be some different justification behind it. Like asserting that “one likes uniforms” with a distinct set of values. Noel was born as the character who possesses that set of values. After sketching this scene on one or two pages, I left it to the side, as is, for a long time…. Then, I pretty much began drawing when the deadline eventually got too close for comfort (laughs).
—— J: This applies to the logic you mentioned earlier, 'after observing the incident, after giving it careful consideration, if this individual was not the culprit, then in what way will the situation come to develop?’ [1]
Kubo: 'Even though everyone is saying it’s like this, what if it’s the case that it’s nothing like that?’, there’s a fair few things that come to mind from considering this side of the equation.
—— J: After reading a few pages, I immediately got the impression that “Kubo sensei has returned!”
Kubo:I think people who like my manga, will likely be touched by the monologue here. Even if one tries to interpret the word “uniforms” alone, the feeling that “there’s various ways of considering this huh”, I want the audience to experience that when they read my manga. The same goes for the lyrics of a musical composition. And it’s also true of Shakespeare’s poem which I talked about at the start. “They have o'erlooked me and divided me” is what everyone regards as the main point, but from “one half is yours” to “the other half also yours”, these lines present one with new findings.[2]
—— J: And so we conclude by showing our appreciation to Kubo sensei for answering everyone’s questions which were received in various languages from around the world. Allow me to express my gratitude one more time.
Kubo: I am very grateful to have received so many questions!
Translator’s notes:
1. See Q.41
2. Quotes from “The Merchant of Venice” by William Shakespeare see Q.1
ABOUT COLOR ILLUSTRATION
In response to 5 of the published illustrations, newly drawn specifically for use in this artbook, we reveal the inside story concerning its creation.
—— J: Here we ask Kubo sensei to commentate on the illustrations that were newly composed for this occasion.
Team Heroes & Team Rivals
—— J: Regarding the two pieces of artwork depicting Ichigo’s group and Ulquiorra’s group, were you making something of a contrast between the two?
Kubo: I thought “I want to give the impression that they are clashing against another school.”
—— J: I’m curious about the selection of characters who made an appearance on this occasion.
Kubo: This… is something that gave me a great deal of trouble. I thought I should widen the frame so that I could just narrowly get these students of mine into the shot. In delinquent manga I think there are often characters that make me go “these guys can’t possibly be high school students now can they?” but after considering that I had better include individuals of that sort, I inserted guys like Starrk…. As a result, I feel the characters I have chosen are likely interesting candidates for a delinquent manga.
—— J: On account of the scattered year groups among these characters, are there any individuals who would be leader or something?
Kubo: Among this lineup, I wonder if that would be Starrk. In terms of year groups, I think he would be in the 3rd grade of high school.
—— J: Gin was added to Ichigo’s gang during the rough sketching phase right?
Kubo: When I was thinking about trying to increase the size of Ichigo’s group, to start with I figured Aizen would be a peculiar choice. Casting Gin was fine, but I thought to myself “Aizen would probably be their teacher.” And Kenpachi would also be too old…. It could pass if his story was that he’s being made to repeat the same year an absurd number of times though (laughs). It’s the result of me thinking that it would be great if I could get the readers to picture the scenario whilst asking “I wonder how that character ended up among this lineup?” That they’re covered with cuts and bruises, it gives the impression that they came to retaliate after being on the receiving end of an attack by the white uniformed gang.
—— J: Hitsugaya has certainly taken quite a beating too huh….
Kubo: They’re all rather beaten up (laughs).
Ladies Crew - Swimsuit Round-up
—— J: Next up we have this swimsuit illustration, but… the first thing that ends up drawing one’s attention - this swimsuit Orihime is wearing, whose choice was it?
Kubo: I was even asked by my wife, “this swimsuit, who would’ve made her wear it?” (laughs). During the inking phase it was my intention to give it a simple sexy look, but when I began adding in my colours I thought “huh? Isn’t this Orihime sort of lewd?”
—— J: Concerning the previous swimsuit round-up illustration (JET volume 1 pages 86-87), the omake scene where the ladies got to pick out their swimsuits, was sketched in pencil on the blank pages of the paperback volume, but what sort of events led to the scene which appears this time around?
Kubo: This time, the situation for the moment is kind of like “Ichigo is in low spirits, so please encourage him!” So after selecting certain individuals connected to Ichigo, I composed this piece. Incidentally I added Nelliel after the rough sketching stage. Also, I think it won’t go without notice so I’ll be the first to say it, but Nelliel’s scar and Rangiku’s beauty mark. I drew those wrong!
—— J: A bubble party to cheer up Ichigo…. Is this event a suggestion made by the likes of Urahara for instance?
Kubo: That’s right, it would come from Urahara. I want to lay the blame for Orihime’s swimsuit on Urahara too (laughs).
—— J: And I’m surprised Orihime even wore it, something like this that is….
Kubo: Even in the final chapters she was made to wear something inconceivable after all.
Bambis
—— J: What sort of motive did you have to make the Bambis the subject matter?
Kubo: I didn’t get to draw these five individuals in colour much within the original work, but since I’m quite pleased with them I decided to draw this.
—— J: Are they watching a horror movie or something in this piece?
Kubo: That’s right. After taking the liberty of showing up at Bambietta’s house uninvited, they welcomed themselves to eat whatever her home has to offer whilst watching a horror movie.
—— J: But Giselle, she’s not watching the movie is she (laughs).
Kubo: Yeah. She comes barging in without asking and yet she doesn’t watch the movie (laughs).
—— J: It’s a painting with peculiar finishing touches, the likes of which I have never seen before now.
Kubo: That’s true, I added finishing touches which I have never tried drawing before now.
—— J: The colouring style in this piece sort of pops similar to the time you painted the Gremmy illustration (JET vol.1 page 277), is it one of the colouring styles you wanted to try during the course of the series?
Kubo: This is an art-style I’ve been wanting to try recently. I composed this piece after I wanted to give it the impression of a sticker or something of that sort. Given that it’s impossible to adjust colour hues through shading when I’m working in flat colour, it took time to choose colours that complemented each other. Also, I noticed it just now, but I forgot to colour Candice’s sunglasses.
Kazui & Ichika
—— J: Given that we are now seeing an illustration of Kazui and Ichika grown up for the first time, may I ask about the situation to start with?
Kubo: Kazui is 13 years old, and Ichika is around 15 years old, the pair are on their way to school wearing the uniforms of Mashiba Middle School which Ichigo also attended.
—— J: The first information on the pair’s age difference! Compared to your other illustrations, it seems you used a different colouring technique for the backdrop.
Kubo: That’s right. After thinking that I wanted to give it a picture book-like feel, I worked in a light and airy art-style.
—— J: There’s so much information packed in the details and I can keep spotting more, but I will ask about only one in particular. This red strap like thing attached to Ichika’s bag, by some chance could that be….
Kubo: That is so, I thought it would be interesting if I could have Ichika receive training from squad 11. I illustrated this through a visual of the tassel associated with Ikkaku.
—— J: Oh, I see!
Kubo: Although, it’s not like I’ve firmly decided to make special plans around it just yet.
ABOUT TITE KUBO HIMSELF
This section delves deeper into Kubo sensei’s hobbies and tastes which harbour a diverse background ranging from the likes of music, architecture and product design, as well as addressing his personal mode of thought.
Q.43: Please tell us about your favourite architects and building structures. If you also have favourite cars, do let us know.
Kubo:I like Frank Gehry and Santiago Calatrava. Although there are various individuals I admire from among the likes of furniture designers and architects, the ones I like in particular also include Tom Dixon, Jaime Hayon and Marcel Wanders. I even took the liberty to borrow the name “Ulquiorra” from Patricia Urquiola whom I admired since the early days of the series. They’re completely unrelated to my artistic style and such however.
—— J: When did you start acquiring knowledge of things like architecture and music?
Kubo: I’ve always liked doing so as a hobby, consequently I used to look at architecture magazines as a change of pace between drawing manga.
—— J: I wonder what your favourite building structure within “BLEACH” could be?
Kubo: Within the work, what I tried to draw more to appeal to my taste, is mostly the structures found in the Hueco Mundo area. I liked that I was able to produce an intimidating feel through their expansive, simple forms. But when it came to expressing their size, I found it rather difficult, many times I would draw buildings I wanted to scale up, it would work just fine if I could draw smaller structures in its vicinity, however, given that I ended up making Hueco Mundo a world filled with desert, nothing would exist in the surroundings to establish that size comparison (laughs). It was a struggle to express their size through the characteristic pure white walls alone.
—— J: Do you have a favourite car?
Kubo: I don’t hold a license but if I earned one, what I think I would start wanting to purchase, is a car called the TVR Tuscan. However when I looked at reviews, I found that apparently it was difficult to handle, seems like a car that has a lot of quirks. Even if I had bought it, I would would be thinking “I guess this is impossible to drive huh.”
—— J: Is there a certain colour you would prefer?
Kubo: I haven’t made up my mind on a colour at all.
Q.44: Please teach us your method for improving concentration.
Kubo: I… don’t have any powers of concentration. For 15 years I kept wondering how I could manage to concentrate, but I couldn’t find a method (laughs). Therefore, I think people who lack concentration should try to work in a short span of time!
Q.45: Does the music that you listen to change depending on the mood or situation?
Kubo: I put pleasant sounding music on when I draw and it changes depending on the scene I’m depicting, therefore it’s unrelated to things like my mood or situation. When I’m in good form, I choose music that makes me go something like “I’m really going to be in my element whilst listening to this!” but when I’m in a hurry or in poor form, I forget to put the music on and commence drawing instead, it remains like that all day long as I work in silence…. Even at such a juncture, music would be playing in my head more often than not, however, sometimes it unexpectedly shifts to a song that has no relationship at all with the scene I’m drawing, and then I lose momentum in the drawing process. Nevertheless, when it comes to results, there is no variation in my final piece. And that’s regardless of whether or not I’m feeling good. By the time I’ve finished drawing, I’m not left with fatigue granted there’s music.
—— J: So when you’re drawing a pensive scene for instance, you’d set the mood by playing a song with a pensive air about it….
Kubo: That would be the case only when I have breathing room, and only when I’m in good form. Basically, it would be depressing if I listened to gloomy songs on rainy days, so I don’t (laughs).
—— J: Do you not listen to music through the radio and such?
Kubo: I guess I don’t really listen to the radio. For a long time, I couldn’t figure out how one would go about listening to a radio (laughs).
—— J: You really aren’t good with devices huh (laughs).
Kubo: For a time, when I was still at my parents’ home I would listen to music through the stereo, but due to the fact that the stereo I had purchased after moving out was foreign manufactured, I was unsure about how to receive radio signals. Therefore, I practically never listened to the radio since moving houses.
—— J: Basically you put like a CD on for music then?
Kubo: Things like CDs and MTV. Eventually I listened to iTunes internet radio among other things when it came to the later stages of the series. Since it was divided into genres, I was able to play things like metal or EDM.
—— J: Are there any moments where you think “it seems I’m listening to these songs on repeat.”
Kubo: When I’m hooked on a song, I often listen to nothing but the same musician. I’d say something like “I’m only going to be listening to Avicii for this phase.”
Q.46: If Kubo sensei had not made a debut as a manga artist, what profession does sensei think he would have been employed in (or would like to be employed in) instead?
Kubo: I think I would be dying by the roadside (laughs).
—— J: Did you debut as a manga artist during your days as a student?
Kubo: I was a student when I was connected to an editor, but I made my debut the year I graduated high school. From there I drew around 3 one-shots…. However I only got a serialisation approximately 3 years after that, so in that interval I was without any occupation, I remained at my parents’ house jobless (laughs).
—— J: Were you planning to become a manga artist ever since you were a child?
Kubo: It was my intention to become a manga artist from around the time I was an elementary school student, but I actually moved into action when I was in my 3rd year of high school. Although I wanted to become a manga artist beforehand, it seemed somewhat difficult, I was wondering whether it would be better to become an illustrator or something which appeared to be less demanding. Though in reality, being an illustrator would also be terribly difficult. However at the time of my career counselling in the 3rd year of high school, I thought “manga artist it is!” and after talking with my tutors, I began drawing manga.
Q.47:Has sensei ever thought “the talent of this person is amazing” with regard to a mangaka who is or was serialised in Jump?
Kubo: Since the series concluded, I’ve been reading Jump through a reader’s frame of mind, so I think everyone is awesome (laughs). When it comes to that area I get the same sort of impression as an average reader’s.
Q.48:What is the most important thing for a manga artist to consider?
Kubo:To enjoy the process of composing your manga!
Q.49:Is there a person you would love to have a conversation with?
Kubo: Well, there’s no one in particular. I have never been one to talk much, and I don’t know what I should talk about even when meeting someone who creates something I like. Even if I had met my favourite musician, I’d be unable to say anything but “I’m a huge fan!”
—— J: So then, is there somebody you’d like to tell “I’m a huge fan” to?
Kubo:Greg Graffin, the leader of the band known as “Bad Religion”, would be that person, I admire him a great deal. It’s down to the influence of this band that I even like poetry. My impression is that I grew to like poetry because I liked Bad Religion’s song lyrics.
—— J: That reminds me, Ichigo’s theme song is “News From The Front” by Bad Religion isn’t it?
Kubo: That’s right. It’s not that Ichigo himself likes Bad Religion when it comes to his character configuration, but in the movie adaptation there was a Bad Religion poster stuck on the walls of his room (laughs).
Q.31: Out of all the poems that appear at the beginning of each volume, which volume’s poem is the one that you are most pleased with?
Kubo:Which volume I wonder. I’d say I’m more or less pleased with all of them.
—— J: Are there any that stand out to you the most?
Kubo: In terms of my basic preferences, I’m quite fond of poems that involve numbers, like when Orihime appeared on the front cover (volume 27) “we have not one in common, no two are shaped alike~”, and the poem where Yhwach appears on the cover (volume 55) “take one step in and never return~”, I like these two poems. This is completely unrelated, but in terms of character techniques, I’m also quite pleased with “Burner Finger 1, 2, 3~” the technique used by Bazz-B which was demonstrated in his final chapters.
Q.32: A large number of characters have made an appearance in “BLEACH”, but who has become Kubo sensei’s absolute favourite male and female characters from among them?
Kubo: As for my characters, I like them all. Even though I like voluptuous figures, drawing them is difficult so I cannot make that a sweeping generalisation of who I prefer drawing. When “BLEACH -Brave Souls-” came out, Nelliel, Orihime and Rangiku were what my focus was more drawn to. I like drawing busty characters wearing sexy swimsuits after all (laughs).
—— J: What about male characters?
Kubo: I like all the male characters roughly the same. I do not like nor dislike anyone in particular.
Q.33: Among the characters that appear in “BLEACH”, is there anyone who makes sensei go “I want to be this guy!” If so, please tell us.
Kubo: There’s no one I’d want to be (laughs).
—— J: Conversely, is there anyone you would absolutely not want to be?
Kubo: I have never given any consideration to which character “I would like to be, or not like to be” (laughs).
—— J: Maybe a squad 12 soldier or something…?
Kubo: I don’t want to be a character whose days are numbered (laughs).
Q.34: Which character among the cast of “BLEACH” does sensei believe most resembles himself? Furthermore, does sensei project a bit of himself into his characters?
Kubo: There is no character that takes after me. I don’t think I project myself into my characters. When I’m composing my story and characters, I’m looking at it through the eyes of an onlooker, I don’t deviate from that position. Like when you’re observing unfamiliar characters in action within a dream for example, it’s entirely the standpoint of an onlooker.
—— J: Does it feel like you’re watching a movie?
Kubo: That’s right. There’s absolutely no bit of “myself” to be found there at all, it’s like I’m watching the scene from the viewpoint of a third party. Unless a character that embodies “myself” appears in that space, I am not a party to said dream. Thus I have maintained that “BLEACH” is the story of Ichigo and others all the way to the end, so it has nothing to do with me.
Q.35: If Kubo sensei could enlist in the Gotei 13, which squad would he want to join?
Kubo: Huh!? I don’t think I could enlist. It seems tough so I don’t want to join (laughs). You must have to go through an absurd amount of physical training right!? However, if there is a position where one can draw illustrations on the other hand….
—— J: What if you were a member of staff working on the production of Seireitei Communication?
Kubo: But that would mean I’d be Hisagi’s underling won’t it…(laughs).
—— J: Speaking of Seireitei Communication, it’s produced by squad 9 isn’t it?
Kubo: Correct. If I had drawn an illustration and it was criticised by Hisagi, I would end up thinking something like “that’s rich, coming from Hisagi…”, so on second thought, I don’t want to join at all (laughs).
Q.36:Throughout the whole story, which battle scenes were drawn with the most emotional attachment and enthusiasm?
Kubo: What I want to draw for each battle scene is different. Some scenes I wanted to draw purely for the action, and other scenes I wanted to draw for story progression…. What I enjoyed drawing with regard to action, is the final Ichigo versus Grimmjow fight for instance.
—— J: How about in terms of story?
Kubo: Thinking about it now, if I had to choose the drawing phase which came the closest, I’d say Bazz-B versus Haschwalth is the most unforgettable.
Q.37: Please tell us which character you can draw with the most ease.
Kubo: Ikkaku!
Q.38:In the story there are various characters who put up a united front, but which pair or team does sensei take a liking to? If Kubo sensei personally found it challenging to depict the sense of distance and relationships between these fellow characters, or if there is any aspect within this subject that sensei was particular about and so on, please tell us about it.
Kubo: Since I portray the teams on the basis of their relationships from the start, I have never had any difficulties with this. On the contrary, after I read the work over again I think there are certain things that made me go something like “I haven’t depicted the relationship between this guy and this guy huh?” In that kind of situation, I may decide to reveal it in the form of a side story in the future. Also speaking of the challenges I faced, I decided that I always felt that way about the relationship between Kensei and Mashiro for instance, however I wasn’t able to draw much interaction between them in the manga. As the story progressed, I remember thinking “finally I’m able to draw the relationship between these two” in ‘The Past Arc’.
Q.39:Which movie adaptation is Kubo sensei’s favourite?
Kubo: What left the biggest impression on me is the opening sequence of “Hell Verse” where I had the battle between Ichigo and Ulquiorra remade, I remember how relieved I was by the superb execution. This pleased me greatly. I re-watched that scene alone many times over.
Q.40:Do you ever go back to read “BLEACH”? Are your own illustrations and manga the way you’d like them to be?
Kubo: I think I feel the same for everything, but there are both areas that I love, and areas that make me think “I could have drawn a little more to expand on this.” Conversely, when I try to re-examine my work after thinking “I guess I was too excessive here”, I discover there are also things I had drawn better than expected. In addition, I think my own drawings are all generally to my liking. I draw manga because I want to draw the way I wish, that being the case, if I didn’t like my own art, I wouldn’t be drawing in the first place.
Q.41: I get the impression that throughout the entirety of “BLEACH”, Kubo sensei has depicted the themes of right and wrong. I would like to ask about Kubo sensei’s personal views on right and wrong.
Kubo: I depict the things that are not uniform within myself, in my manga. There are many ways to perceive concepts like “right and wrong”, the one within myself is not necessarily the one that is correct. By nature I like to consider things from various angles, so when I see news surrounding an incident on television, I like to examine it through the initial details. If for example the incident happened to be “a person was attacked in a certain place”, person by person, I consider the motives that the whole cast may have in the event that the person in question is the culprit. Even if the answers to those questions have already been given out on the news, I ponder things like “if some part of this information turns out to be false, would the answers become the complete opposite?”
Q.42: After composing a work like “BLEACH”, is there anything that you made you think “this was non-negotiable”?
Kubo: I don’t much draw with a sense of flexibility (laughs). Basically everything was non-negotiable, although, Asada san the editor during my one-shot before serialisation, made various suggestions like “I want you to do it in this way”, but since I didn’t make any amendments at all in accordance with those suggestions, he no longer asked me to do so midway through (laughs). I knew it would be accepted if it was interesting even if I hadn’t made the amendments as pointed out, so I thought “this will do.”
Translator’s notes:
- Hisagi has an unpopular segment in Seireitei Communication called “Teach Me! Shūhei Sensei!!” which is what Kubo is likely making a quip at!
