EX: So, editors essentially keep manga artists in check?

HK:Yes. Artists are like sprinters: they only see art that is in front of them, the art that they are drawing at the moment. Writers, on the other hand, are more like long-distance runners because they see the overall flow of things. Manga artists need to be both—but since not everyone can do both simultaneously, they need that editor to keep both sides in check. In fact, I think I would be a good editor because I know both ends of the fence. I'm pretty sure that if I was the editor, the artist would be top-selling artist... but he would definitely hate my guts. (laugh)

EX: Why would that be?

HK: Good manga artists are slow workers. This is because they take more time and effort in both drawing their art and constructing their storyboards. For instance, I have a basic storyline in my head right now, but I'm making the storyboards as I draw the actual manga. This has been the pattern recently, and I must say I'm not too fond of it. I would like to get a new editor to talk things out with, but for now, I'm left on my own—at least for a little while longer. It's a tough way of going about things, but I am doing what I want to do, so I'm not complaining.

EX: What part of that is especially tough?

HK: I would say the toughest part would be before I start drawing. That's when I'm thinking about what my readers want to see happen, what kind of a story they would be satisfied with. It's tough not having someone keep me in check during this phase... I find it sad that the good editors keep moving up the corporate ladder as they get older. I miss all of my sadistic ex-editors who woke me up late at night whenever they came up with great ideas.

EX: Some editors go that far?

HK: They do. And that's why the popularity of magazines fluctuate—the popularity is all about the skills of the editors. Like in any other industry, the key to success is in the hands of the producer. New artists tend to be rebellious, and want to be free of such grips by their editors. But, if they aren't kept under the editorial control, most of them will finish their career and call it quits within one year.
It's tough to work under such control, but it tends to make you happy in the long run. And being able to work happily is the best thing that can happen to you.

EX: What kind of work would you like to try out in the future?

HK: That's a tough question. I would like to someday just be the story-planner and let someone else draw for me. I still have many ideas that I want to try out. Maybe then I can go back to a weekly publication—you really need speed and vitality to survive a weekly publication. In other words, you need to be young to do such a thing. As you get older, your pace starts slowing down; when that happens, you start caring more about the quality of your work. In Japan, there isn't an environment within the industry that supports such people that care about their work. So, in that aspect, I think the advent of the Internet as an informational tool is a good thing and a bad thing. The 'Net increases the ability to deliver your services about, but on the other hand, it's killing all the bookstores.

EX: All right, we'll move on now... What kind of hobbies do you have?

HK: Manga used to be one of my hobbies, but now that's work. I also enjoy watching movies and playing video games, but I think that's because they have somewhat of a relationship with manga. But then, I've played FIRE PRO-WRESTLING so much that my body tells me to sleep whenever I hear that soundtrack. (laugh) I also keep a good ear out for music, and the latest trends in show business—but then, in my case, they are still somewhat connected to my manga. So I guess I don't have any hobbies.

EX: Isn't there something? (laugh)

HK: Let's see... I like collecting lighters, attempting to do some gardening and strolling around town. I used to hop on my bike and ride around, but I lost my motorcycle license because I was too busy to go renew it. Besides, my editor yelled at me to stop bike-riding because he was afraid of what might happen if I had an accident and broke my arm. The other things I tend to do a lot are listening to music, and going out to eat and drink with other manga artists. When that happens, we usually end up talking about manga. (laugh)

EX: Well, we're just about of time, so do you have any parting comments to your fans?

HK: If you're willing to read what I have to draw, I give much thanks to you, since I continue drawing to make my readers happy. After all, every work by every author gets pushed up to a new level of creativity and recognition when there is a need for its creation by the people who support it.

EX: Thank you for your time.

The Future for Hagiwara and BASTARD!!

It now has been a few months since the interview, and much has changed for our heavy-metal loving author. The biggest change is that he switched publications from WEEKLY JUMP to ULTRA JUMP, where he will be drawing every other month, starting with the conclusion of the Law of Immorality arc that has been going on in WEEKLY JUMP. The first episode in ULTRA JUMP is the January 2001 issue, on sale in Japan on December 19. This means that BASTARD!! fans will once again start to see more of our ruthless hero Dark Schneider, which is good news!
Combined with this move is the republication of all of his print compilations to date in a larger format. This republication is in spirit like the GUNNM special editions with their large size and keeping all color pages intact. It even comes with new art on the covers, and all the inside art has been retouched so they are now even better than before. The first volume of the republication will go on sale on December 22.
As Hagiwara-sensei and the crew at Studio Loud in School continue to move along in the manga industry, you can always keep an eye out for the latest goings-on around the author by checking out his website.