池田理代子 Riyoko Ikeda Interview About Oniisama E... (2016)
Mangaka and Vocal artist, she began drawing mangas during her university studies, and her work The Rose of Versailles, serialized in 1972, became a huge success, even turning into a social phenomenon. She became highly appreciated internationally. She received the Excellence Award from the Japanese Cartoonists Association for Orpheus no Mado in 1980. The French government decorated her with the Légion d’Honneur for her contributions to spreading French history and culture in Japan.
What led to the creation of Oniisama E... ?
When the serialization of The Rose of Versailles ended, I had already decided that my next work would be a historical epic : Orpheus no Mado. But since it would take time to prepare for the historical research and start drawing it, I thought I could write something in the meantime (laughs). I feel a bit apologetic calling it just a filler, though, but actually, "Oniisama E..." was born from my own personal experiences. It’s a very important and cherished memory for me, and it just came rushing out all at once.
So, was your correspondence with the "Oniisama" also based on your own experience ?
When I was in my third year of middle school, just like Nanako, there was a preparatory course offered by university students from the University of Tokyo. I asked the graduate student who was in charge of social studies (the model for Takehiko Henmi) the same thing Nanako did: "Could you be my 'Oniisama'?" (laughs). I was deeply fascinated by the concept of an 'Oniisama" It's different from the idea of love, though. Through our letters, I learned a lot about history, religion, and various things. When I mentioned my interest in Christianity, he wrote me, "Christianity, as it is called, not only « participated » in the WW2 but was also one of its central protagonists : This is a historical truth.." I learned so much from those letters and grew a lot. I even went to the University of Tokyo’s May Festival. Actually, the "Oniisama" always had someone with him, like the omiki sake bottle. That person was the model for Takashi Ichinomiya. He was a person with a thin and delicate appearance, giving the impression of a young master from a wealthy family.
What were you like back then (during your school years) ?
I was really bad at sports, but for some reason, I was quite popular with the girls during my middle and high school years. In middle school, which was co-ed, I had good grades, had a very tanned skin, was tall, and completely lacked femininity, maybe that’s why (laughs). Even in high school, younger students would write me letters. After graduating, I found out that knowing someone like 'Ikeda-san' was really a source of pride for them.
Did you have the storyline planned out from the beginning of the serialization to the ending ?
It was more like ideas came to me as I was drawing. I don’t clearly remember if I had planned everything out until the end, but let’s say I had set certain elements in advance. For example, the idea that Kaoru and Henmi would be a couple came to me along the way (laughs). Even for The Rose of Versailles, I hadn’t decided from the start that Oscar and André would end up together. Of course, there are aspects I plan carefully, but in the end, the characters started acting on their own. And when that happens, I feel like the story is "successful."
Nanako is a very emotional girl, but also extremely determined. As for Mariko, she seems to embody the 'tsundere' archetype to some extent.
Nanako is very similar to Rosalie, isn’t she? Devoted, but in the end, she’s the strongest (laughs). For Mariko, there was a real-life model: a friend whose father wrote erotic novels. I gradually incorporated various elements from the people around me. I think many aspects are direct projections. Even the way Kaoru speaks, that’s really how we used to talk back then. We would say things like “Omae-san” (laughs). Oniisama E... reflects a lot of memories and episodes from my student life.
Oniisama E... is a short story, so its general recognition is low, but it has quite a passionate fanbase.
There are many men who tell me, "I'm a fan!". Recently, it's no longer embarrassing for men to enjoy shoujo manga. During autograph sessions, quite a few people enthusiastically tell me, "I love this work!" Some even say, "Oniisama E... is really my favorite!" When I hear that, I can't help but think, "Well, here's a true connoisseur!" (laughs). Of course, there are also many women among the fans. In that regard, I think Oniisama E... has nothing to envy from The Rose of Versailles.
And then, in 1991, it was adapted into an anime.
Actually, I was very busy at the time, so I wasn’t able to watch it properly… What left a strong impression on me, though, was how they carefully portrayed Fukiko’s feelings for Takehiko, which I hadn’t depicted in the original. I thought, "Oh, that’s so wonderful." It really fit perfectly, and there was no sense of discomfort at all.
It's a remarkable aspect of the anime adaptation. I wish I could have read it in your manga as well.
If I had a little more time, I would have liked to draw it myself. Originally, due to the planning period for Orpheus no Mado, I was rushed. Even though I still had many ideas in mind, it felt like I was forced to wrap it up (laughs).
Given what you’ve just mentioned, have you ever thought about remaking or creating a sequel to your own works?
Right now, I’m drawing a chapter for The Rose of Versailles, but... the art from that time was really bad, and I even hate re-reading it. I realize there were things I could only draw back then. When the serialization of The Rose of Versailles ended, I realized that in order to depict Europe, I would have needed much more knowledge of Christianity. That’s why, before starting Orpheus no Mado, I spent a lot of time studying Christianity. I don’t think I could have drawn the story without that knowledge. A work is the product of its time, of its era, the sensitivities, and the knowledge of the author, so remaking something seems difficult to me.
In 2017, you'll be celebrating your 50th anniversary as a writer.
I can't believe it's already been so long, and at the same time, I realize that some parts of my body are starting to hurt, which reminds me of my age (laughs). I've also been very active in music, but lately, progress has been slower. However, I truly want to cherish each passing year. For me, true happiness is living in a way that I would never regret anything, even if I were to die tomorrow. There's no reason to look back on the past. After all, it’s impossible to rewrite it. I don’t reread my works much either (laughs). I’ve lived my way, sometimes causing trouble to others, but doing what I wanted (laughs).
For this Blu-ray release, new illustrations were specially drawn.
I wasn’t satisfied with the drawings of The Rose of Versailles because I think they were awkwardly executed. Personally, I think Oniisama E... is the work where I drew the best. At that time, I was able to draw very precisely, even the lines were very clean. Over time, some works become hard to rediscover, but Oniisama E... is the one I drew almost effortlessly, simply letting the ideas flow. That’s why, even today, I can dive back into it without effort (laughs).
To those who have brought this product.
Oniisama E... is a work that originates from my own experiences, and it’s the work that I’ve let mature the longest, so I have a strong emotional connection to it. The idea for The Rose of Versailles came to me when I was in my second year of high school, which is quite early, but Oniisama E... came even before that. I would like as many people as possible to see and read it.
He wasn’t my lover, nor a relative, and calling him a friend would be too presumptuous. When I heard the news of his death, I really hit the desk and cried uncontrollably. That feeling was something I’d never experienced before, and it was the first time I felt that way about Tezuka-sensei. I truly respected him. Recently, it’s been the same with Muhammad Ali. Tezuka-sensei's Wellspring of the Crane was the first work that deeply moved me when I read it. It really squeezed my heart. I read it at a friend's house, and after returning home, I couldn’t eat, and my mother wondered if I had picked up some food off the ground. Ah, no one could understand! I remember thinking, as a child, that my sensitivity was different from others! (laughs).
Source: Oniisama E... Blu-Ray BOX SET Booklet.
Note : The translation might not be the most accurate word-for-word, but i did my best to make it coherent.
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