Link: https://natalie.mu/comic/pp/versus

The interview is in Japanese but has been translated by SDOAJ, one of the fan translators for Versus manga (over on r/versusmanga).

The renowned manga artist ONE, known for hit series like One Punch Man and Mob Psycho 100, has embarked on his first serialized work in print media since his commercial debut. This new series, titled Versus, is being published in Monthly Shonen Sirius (Kodansha), with art by Kyotaro Azuma and story composition by bose. Together, they have begun creating a classic shonen manga.

The setting of Versus is a world being ravaged by a powerful enemy. Despite the courageous efforts of heroes against the Demon King, they have suffered defeat. In the midst of this, the protagonist, Hallow, a hero who has lost his right hand, encounters soldiers from another world. Initially, he believes their modern equipment could defeat the Demon King’s army, but it turns out that these soldiers are also being attacked by monstrous enemies. As the story unfolds, various worlds intertwine, and Hallow and his companions devise strategies to take down the formidable enemies.

To commemorate the release of the first volume of the series, Comic Natalie conducted an interview with ONE, Azuma, and bose. They discuss how ONE's classic shonen manga was conceived and how they distinguished the multiple worlds that appear in the story through both storyboards and artwork. Enjoy this roundtable discussion, which delves into the creative techniques of the trio.

Interview and text by Saki Ota (TARKUS)

The Realization That There's an Option to “Not Fight in the Usual Way”

── "I had the chance to read Versus, and I was completely absorbed by the series of captivating scenes right from the beginning. How did this work originally come about?"

ONE: The idea that became the basis for Versus was something I had been nurturing for a while. It was something I had thought about even before being approached by the editor from Shonen Sirius. With the rise of the isekai genre in recent years, there was a time when I wondered what kind of story I would create in that genre. I felt that the answer shouldn’t be to tackle it head-on, so I decided to approach the concept of 'another world' from a different angle, handling it with care. This led me to the idea of multiple worlds merging together, with various apex predators flooding in. I wondered what would happen in such a scenario.

── So that became the basis for Versus. In Volume 1, the story progresses in the direction of having "natural enemies fight against each other." Was this decided early on as well?

ONE: Yes, it was. First, I thought about how humans would act when the world is thrown into chaos. When I considered a new way for the protagonist to fight, instead of having them possess cheat abilities or overwhelming power, I realized there was the option of “not fighting in the usual way.” From there, I expanded the story.

── At that point, was there a possibility that you might also handle the artwork yourself?

ONE: No, since it would involve depicting a vast world, I knew I couldn’t pull it off on my own. I did consider taking on the role of the original creator and asking someone else to do the art, but that would require a huge amount of work, including an overwhelming amount of design. So, I thought it would be a difficult idea to realize. However, when the editor from Shonen Sirius approached me, I casually mentioned, "I also have this idea," and they liked it.

It's All in ONE’s Head (Azuma)

── When did things start moving forward for the Versus serialization in Shonen Sirius?

ONE: Probably around two or three years ago. At that point, there was no story or anything concrete yet, so I asked them not to find any candidates for the art just yet. First, I wanted to flesh out the content and refine the setting to make the serialization more concrete. However, as the process moved forward, I began to think that it might be difficult for me to handle the storyboards myself.

── Is that when bose's involvement was decided?

ONE: Around that time, the editorial team suggested Azuma-sensei's name, even though I had asked them not to approach any potential artists… I thought it would be possible for Azuma-sensei to handle the storyboards as well as the art, but that would mean placing an enormous workload on him, from the script to the artwork. Considering the scale of work, that would be too demanding. So, I reached out to bose, who I knew was skilled at storyboarding.

bose: I had known ONE for a while, but we had never worked together on a project before. I had always wanted to create something with him, so when he invited me, I was really happy. I immediately agreed, saying, "If you're okay with me, I'd love to do it."

── The original draft that passed from ONE to bose was like a script written in text, correct?

bose: Yes, that’s right. I’ve worked on adapting text-based drafts into storyboards before, so I was naturally able to take on that role. Plus, I’ve been reading ONE’s works for a long time, and I felt that there were similarities with the kinds of things I wanted to create. So, it wasn’t difficult at all, and I found the process to be very smooth.

ONE: At first, I thought I’d just write a rough plot or a few lines and let bose expand on it. But for the beginning of the story, I realized that if I didn’t write the dialogue and details, it wouldn’t convey what I wanted. So for now, I’ve been carefully writing even the finer details like dialogue and direction to make it as clear as possible.

── After that, Azuma-san was officially asked to handle the artwork. Azuma, how did you feel when you first heard about the project?

Kyotaro Azuma: I was discussing another project with the editor when they mentioned, "We have this draft…" I only heard a rough outline, but it sounded really interesting. I remember being intrigued right away and immediately saying, "I’ll do it."

ONE: When I first heard Azuma-san’s name from the editor, I thought, "He’s a very skilled artist, so he must be in high demand." I was worried that it might be disrespectful to reach out when the project’s setting wasn’t fully developed yet. But Azuma-san waited for an entire year.

Azuma: Until Versus started moving forward, I was working on the serialization The King of Fighters Gaiden — The Origin of Flame: Shingo Travels Through Time! Let’s Go! for Monthly Shonen Sirius.

── When the three of you first met, did you discuss the concept of Versus?

ONE: I did share what the goal of the story would be. However, I’ve been revealing the branching points as we go, so they might not know the ending of the story yet.

Azuma: That’s right. I’ve received meeting notes from our discussions about the world-building, but the setting isn’t fully fleshed out. Everything is still in ONE’s mind. So every time I receive the storyboards, I’m always surprised.

bose: I also ask ONE questions about the finer details as they come up.

The Importance of Getting People to Love the Characters (ONE)

── Now, I’d like to ask about the actual process of writing Versus. In your previous works, you’ve handled the art yourself or had other manga artists remake your stories, but this is the first time you’ve been purely responsible for the original draft. Is there anything different about this approach?

ONE: When I’m doing the art myself, the ideas come to mind based on my own drawing style. However, when working with artists like Azuma-sensei or Murata Yusuke-sensei (who handles the art for One Punch Man), I start imagining visuals that I personally can’t create. For example, I can envision cooler action scenes or more alluring characters, which allows me to push boundaries in a way. Versus is a story that requires powerful visuals and detailed depiction, so I felt that Azuma-sensei could fully bring my ideas to life.

── I see. So you write the scenarios with confidence that Azuma-sensei can handle them. Are there any elements from your previous works that you’ve carried over to Versus?

ONE: One thing I’ve learned from past projects is the importance of getting people to love the characters. In the past, I didn’t pay much attention to whether characters would become popular or not, but having characters that people can love—whether they’re allies or enemies—is incredibly important for the success of a story. Knowing that, I’m building Versus around the characters. It’s possible that a character other than the main one might suddenly take the spotlight and start acting from their own perspective. So, I hope people will also pay attention to the supporting characters.

── That sounds like a development to look forward to. Once you receive the scenario from ONE, bose, how do you translate that into the storyboard?

bose: There’s still some trial and error involved, but when I first read the scenario, I visualize in my head how I want to stage each scene. If I feel that certain parts need more explanation, I’ll add in more description or adjust the sequence of events. After drafting the storyboard, I send it to ONE for confirmation.

── Since the two of you were already acquainted, I imagine communication is easier. Has that helped in creating Versus?

bose: When adapting a novel into a manga, sometimes the original author is a big name, and it can be difficult to consult with them. In contrast, this time I can go over even the smallest details with ONE, which makes the process much smoother.

ONE: As the original author, being able to quickly respond to questions also makes it easier to move things forward.

There Were Also Changes to the Scenario Based on Azuma's Input (bose)

── In handling the artwork this time, how did you approach the character designs? I noticed that some characters resemble those from ONE’s style.

Azuma: For the main characters, like the three depicted on the cover of Volume 1, I received rough designs from ONE. As for the others, I expanded on the ideas based on the storyboards bose created. However, I wanted to make sure that readers could immediately recognize it as ONE’s work, so I actively tried to align the designs with his drawing style.

── Do you feel any differences compared to previous works where you handled stories based on an original draft?

Azuma: Not really, since we haven’t yet fully solidified how to move forward with the production of Versus. It’s serialized in Shonen Sirius, so the monthly deadlines are my main focus, and I don’t have much time to think about anything else. Plus, I’m juggling another series, so I’m just doing my best to keep drawing as much as I can within my limits.

── The story features not just magic, but also modern weapons and even aliens, so I imagine it requires quite a bit of variety in your drawings.

Azuma: Yes, with so many different worlds involved, there are a lot of things I’ve never drawn before. I’m still figuring out how to share these ideas with my assistants, and honestly, I feel like there’s not enough time. Right now, I advance the work to the rough draft stage and get feedback from ONE and bose before proceeding with the final version.

ONE: Azuma’s interpretations bring out something better than what I could have drawn myself. So, while I do check the rough drafts, I rarely have anything to say.

bose: Azuma-sensei’s rough drafts are truly amazing! We’ve never had to make any major revisions… Oh, there was that one time when the scenario changed based on Azuma-sensei’s suggestion.

── Which scene are you referring to?

bose: It’s the scene near the end of Chapter 4, where the representatives from each world hold a meeting. At first, I had drawn the storyboard according to ONE’s plot, but Azuma-sensei made a suggestion.

Azuma: Yes, since it’s also the final scene of Volume 1, I wanted to make sure the direction of the story was clear. I felt a bit cheeky saying it, though.

ONE: No, I thought you were absolutely right. Initially, the flow was that Hallow would say, “Let’s make the enemies fight each other,” and the people from the other worlds wouldn’t really understand, and the story would move forward from there. But we revised it so that after a disagreement, everyone comes to realize that making the enemies fight each other might actually be the right solution. It wasn’t just the three of us; the editors also joined in, and we all brainstormed together. As a result, it became a really impactful scene.

Making a Manga True to ONE’s Style (bose)

── What do you pay special attention to when drawing Versus?

Azuma: Since this is a printed manga, we can’t use color. So, I make sure the characters have distinct silhouettes to ensure readers can immediately tell which world each character is from. Also, with so many characters, if I’m not careful, the visuals can become cluttered. To avoid that, I try to keep the panels as clean as possible, making it easy for readers to follow who is speaking and what’s happening.

ONE: I really want to clearly portray each character’s motivations. In Versus, characters from various worlds appear, and they each have different cultures and ways of thinking. Their abilities are also different, so I’m particularly mindful of making sure these differences are well defined.

bose: For me, it’s about making sure the manga feels like a work by ONE. I think ONE’s stories have a unique tone, and I want to create something that fans, including myself, will enjoy. So, I study his past works while crafting the storyboards. I especially focus on the original One Punch Man and try to incorporate similar techniques in the storytelling.

ONE: Speaking of which, before I asked bose to join, the entire content of Volume 1 used to be what is now just the story of the first chapter. It ended with Hallow and his team continuously losing and eventually connecting with another world. But bose pointed out that it was way too long, so we revised it to the current version.

── So, there’s a chance that this process might be depicted as a past episode in the future, since you already have the concept for it. I’m looking forward to that! Now that the first volume is finally being released, could you share your thoughts and goals moving forward?

bose: I’ve heard about the future plans, and Versus is a series that gets more interesting the longer it continues. I’m really eager to work on the next part, and I want to fully convey the excitement I feel into the storyboards.

Azuma: The intensity of the artwork will also increase, so I’ll do my best to meet the deadlines each month.

ONE: Since there are so many characters and settings, I’d like to prioritize making the story as fun as possible without holding back any ideas. The first volume is just the beginning, so I hope everyone will join us in enjoying the journey from here on out.

The renowned manga artist ONE, known for hit series like One Punch Man and Mob Psycho 100, has embarked on his first serialized work in print media since his commercial debut. This new series, titled Versus, is being published in Monthly Shonen Sirius (Kodansha), with art by Kyotaro Azuma and story composition by bose. Together, they have begun creating a classic shonen manga.

The setting of Versus is a world being ravaged by a powerful enemy. Despite the courageous efforts of heroes against the Demon King, they have suffered defeat. In the midst of this, the protagonist, Hallow, a hero who has lost his right hand, encounters soldiers from another world. Initially, he believes their modern equipment could defeat the Demon King’s army, but it turns out that these soldiers are also being attacked by monstrous enemies. As the story unfolds, various worlds intertwine, and Hallow and his companions devise strategies to take down the formidable enemies.

To commemorate the release of the first volume of the series, Comic Natalie conducted an interview with ONE, Azuma, and bose. They discuss how ONE's classic shonen manga was conceived and how they distinguished the multiple worlds that appear in the story through both storyboards and artwork. Enjoy this roundtable discussion, which delves into the creative techniques of the trio.

Interview and text by Saki Ota (TARKUS)

The Realization That There's an Option to “Not Fight in the Usual Way”

── "I had the chance to read Versus, and I was completely absorbed by the series of captivating scenes right from the beginning. How did this work originally come about?"

ONE: The idea that became the basis for Versus was something I had been nurturing for a while. It was something I had thought about even before being approached by the editor from Shonen Sirius. With the rise of the isekai genre in recent years, there was a time when I wondered what kind of story I would create in that genre. I felt that the answer shouldn’t be to tackle it head-on, so I decided to approach the concept of 'another world' from a different angle, handling it with care. This led me to the idea of multiple worlds merging together, with various apex predators flooding in. I wondered what would happen in such a scenario.

── So that became the basis for Versus. In Volume 1, the story progresses in the direction of having "natural enemies fight against each other." Was this decided early on as well?

ONE: Yes, it was. First, I thought about how humans would act when the world is thrown into chaos. When I considered a new way for the protagonist to fight, instead of having them possess cheat abilities or overwhelming power, I realized there was the option of “not fighting in the usual way.” From there, I expanded the story.

── At that point, was there a possibility that you might also handle the artwork yourself?

ONE: No, since it would involve depicting a vast world, I knew I couldn’t pull it off on my own. I did consider taking on the role of the original creator and asking someone else to do the art, but that would require a huge amount of work, including an overwhelming amount of design. So, I thought it would be a difficult idea to realize. However, when the editor from Shonen Sirius approached me, I casually mentioned, "I also have this idea," and they liked it.

It's All in ONE’s Head (Azuma)

── When did things start moving forward for the Versus serialization in Shonen Sirius?

ONE: Probably around two or three years ago. At that point, there was no story or anything concrete yet, so I asked them not to find any candidates for the art just yet. First, I wanted to flesh out the content and refine the setting to make the serialization more concrete. However, as the process moved forward, I began to think that it might be difficult for me to handle the storyboards myself.

── Is that when bose's involvement was decided?

ONE: Around that time, the editorial team suggested Azuma-sensei's name, even though I had asked them not to approach any potential artists… I thought it would be possible for Azuma-sensei to handle the storyboards as well as the art, but that would mean placing an enormous workload on him, from the script to the artwork. Considering the scale of work, that would be too demanding. So, I reached out to bose, who I knew was skilled at storyboarding.

bose: I had known ONE for a while, but we had never worked together on a project before. I had always wanted to create something with him, so when he invited me, I was really happy. I immediately agreed, saying, "If you're okay with me, I'd love to do it."

── The original draft that passed from ONE to bose was like a script written in text, correct?

bose: Yes, that’s right. I’ve worked on adapting text-based drafts into storyboards before, so I was naturally able to take on that role. Plus, I’ve been reading ONE’s works for a long time, and I felt that there were similarities with the kinds of things I wanted to create. So, it wasn’t difficult at all, and I found the process to be very smooth.

ONE: At first, I thought I’d just write a rough plot or a few lines and let bose expand on it. But for the beginning of the story, I realized that if I didn’t write the dialogue and details, it wouldn’t convey what I wanted. So for now, I’ve been carefully writing even the finer details like dialogue and direction to make it as clear as possible.

── After that, Azuma-san was officially asked to handle the artwork. Azuma, how did you feel when you first heard about the project?

Kyotaro Azuma: I was discussing another project with the editor when they mentioned, "We have this draft…" I only heard a rough outline, but it sounded really interesting. I remember being intrigued right away and immediately saying, "I’ll do it."

ONE: When I first heard Azuma-san’s name from the editor, I thought, "He’s a very skilled artist, so he must be in high demand." I was worried that it might be disrespectful to reach out when the project’s setting wasn’t fully developed yet. But Azuma-san waited for an entire year.

Azuma: Until Versus started moving forward, I was working on the serialization The King of Fighters Gaiden — The Origin of Flame: Shingo Travels Through Time! Let’s Go! for Monthly Shonen Sirius.

── When the three of you first met, did you discuss the concept of Versus?

ONE: I did share what the goal of the story would be. However, I’ve been revealing the branching points as we go, so they might not know the ending of the story yet.

Azuma: That’s right. I’ve received meeting notes from our discussions about the world-building, but the setting isn’t fully fleshed out. Everything is still in ONE’s mind. So every time I receive the storyboards, I’m always surprised.

bose: I also ask ONE questions about the finer details as they come up.

The Importance of Getting People to Love the Characters (ONE)

── Now, I’d like to ask about the actual process of writing Versus. In your previous works, you’ve handled the art yourself or had other manga artists remake your stories, but this is the first time you’ve been purely responsible for the original draft. Is there anything different about this approach?

ONE: When I’m doing the art myself, the ideas come to mind based on my own drawing style. However, when working with artists like Azuma-sensei or Murata Yusuke-sensei (who handles the art for One Punch Man), I start imagining visuals that I personally can’t create. For example, I can envision cooler action scenes or more alluring characters, which allows me to push boundaries in a way. Versus is a story that requires powerful visuals and detailed depiction, so I felt that Azuma-sensei could fully bring my ideas to life.

── I see. So you write the scenarios with confidence that Azuma-sensei can handle them. Are there any elements from your previous works that you’ve carried over to Versus?

ONE: One thing I’ve learned from past projects is the importance of getting people to love the characters. In the past, I didn’t pay much attention to whether characters would become popular or not, but having characters that people can love—whether they’re allies or enemies—is incredibly important for the success of a story. Knowing that, I’m building Versus around the characters. It’s possible that a character other than the main one might suddenly take the spotlight and start acting from their own perspective. So, I hope people will also pay attention to the supporting characters.

── That sounds like a development to look forward to. Once you receive the scenario from ONE, bose, how do you translate that into the storyboard?

bose: There’s still some trial and error involved, but when I first read the scenario, I visualize in my head how I want to stage each scene. If I feel that certain parts need more explanation, I’ll add in more description or adjust the sequence of events. After drafting the storyboard, I send it to ONE for confirmation.

── Since the two of you were already acquainted, I imagine communication is easier. Has that helped in creating Versus?

bose: When adapting a novel into a manga, sometimes the original author is a big name, and it can be difficult to consult with them. In contrast, this time I can go over even the smallest details with ONE, which makes the process much smoother.

ONE: As the original author, being able to quickly respond to questions also makes it easier to move things forward.

There Were Also Changes to the Scenario Based on Azuma's Input (bose)

── In handling the artwork this time, how did you approach the character designs? I noticed that some characters resemble those from ONE’s style.

Azuma: For the main characters, like the three depicted on the cover of Volume 1, I received rough designs from ONE. As for the others, I expanded on the ideas based on the storyboards bose created. However, I wanted to make sure that readers could immediately recognize it as ONE’s work, so I actively tried to align the designs with his drawing style.

── Do you feel any differences compared to previous works where you handled stories based on an original draft?

Azuma: Not really, since we haven’t yet fully solidified how to move forward with the production of Versus. It’s serialized in Shonen Sirius, so the monthly deadlines are my main focus, and I don’t have much time to think about anything else. Plus, I’m juggling another series, so I’m just doing my best to keep drawing as much as I can within my limits.

── The story features not just magic, but also modern weapons and even aliens, so I imagine it requires quite a bit of variety in your drawings.

Azuma: Yes, with so many different worlds involved, there are a lot of things I’ve never drawn before. I’m still figuring out how to share these ideas with my assistants, and honestly, I feel like there’s not enough time. Right now, I advance the work to the rough draft stage and get feedback from ONE and bose before proceeding with the final version.

ONE: Azuma’s interpretations bring out something better than what I could have drawn myself. So, while I do check the rough drafts, I rarely have anything to say.

bose: Azuma-sensei’s rough drafts are truly amazing! We’ve never had to make any major revisions… Oh, there was that one time when the scenario changed based on Azuma-sensei’s suggestion.

── Which scene are you referring to?

bose: It’s the scene near the end of Chapter 4, where the representatives from each world hold a meeting. At first, I had drawn the storyboard according to ONE’s plot, but Azuma-sensei made a suggestion.

Azuma: Yes, since it’s also the final scene of Volume 1, I wanted to make sure the direction of the story was clear. I felt a bit cheeky saying it, though.

ONE: No, I thought you were absolutely right. Initially, the flow was that Hallow would say, “Let’s make the enemies fight each other,” and the people from the other worlds wouldn’t really understand, and the story would move forward from there. But we revised it so that after a disagreement, everyone comes to realize that making the enemies fight each other might actually be the right solution. It wasn’t just the three of us; the editors also joined in, and we all brainstormed together. As a result, it became a really impactful scene.

Making a Manga True to ONE’s Style (bose)

── What do you pay special attention to when drawing Versus?

Azuma: Since this is a printed manga, we can’t use color. So, I make sure the characters have distinct silhouettes to ensure readers can immediately tell which world each character is from. Also, with so many characters, if I’m not careful, the visuals can become cluttered. To avoid that, I try to keep the panels as clean as possible, making it easy for readers to follow who is speaking and what’s happening.

ONE: I really want to clearly portray each character’s motivations. In Versus, characters from various worlds appear, and they each have different cultures and ways of thinking. Their abilities are also different, so I’m particularly mindful of making sure these differences are well defined.

bose: For me, it’s about making sure the manga feels like a work by ONE. I think ONE’s stories have a unique tone, and I want to create something that fans, including myself, will enjoy. So, I study his past works while crafting the storyboards. I especially focus on the original One Punch Man and try to incorporate similar techniques in the storytelling.

ONE: Speaking of which, before I asked bose to join, the entire content of Volume 1 used to be what is now just the story of the first chapter. It ended with Hallow and his team continuously losing and eventually connecting with another world. But bose pointed out that it was way too long, so we revised it to the current version.

── So, there’s a chance that this process might be depicted as a past episode in the future, since you already have the concept for it. I’m looking forward to that! Now that the first volume is finally being released, could you share your thoughts and goals moving forward?

bose: I’ve heard about the future plans, and Versus is a series that gets more interesting the longer it continues. I’m really eager to work on the next part, and I want to fully convey the excitement I feel into the storyboards.

Azuma: The intensity of the artwork will also increase, so I’ll do my best to meet the deadlines each month.

One Interview, Transcribing for that, two reflection notes from them – 4 works in total

 For solution of this Assignment Contact Us at We deliver original Work. [email protected] One Interview, Transcribing for that, two reflection notes from them – 4 works in total Please think of yourself as an international student at UCSD majoring Sociology, and interviewing a young adult, 20-28 years of age, face-to-face. 1. Record an interview: I’d attach a file of the prompt,…

but add integrals of hyperbolic functions and derivatives of inverse trig??? n o t h a n k s