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ANIMERICA: Since there are so few female readers in this American market, it would certainly make us and the comics industry in general very happy if Ranma 1/2 could increase the number of women reading comics. In my opinion, the concept of a man changing into a woman and a woman changing into man could be taken as an effort to enlighten a male-dominated society. After all, Ranma never knows what gender he'll be next. Did you intend this?
TAKAHASHI: It's just that I came up with something that might be a simple, fun idea. I'm not the type who thinks in terms of societal agendas. But being a woman and recalling what kind of manga I wanted to read as a child, I just thought humans turning into animals might also be fun and märchenhaft...you know, like a fairy tale.
ANIMERICA: In a previous interview you said that you often use Japanese folklore as a motif in your work. Do you ever receive inspiration from other media, such as contemporary movies or novels?
TAKAHASHI: Well, I've always liked Yasutaka Tsutsui's slapstick novels. I read them often. I've wished I could draw manga that was as absurd as that.
ANIMERICA: Could we say then that Yasutaka Tsutsui has had a great influence on your work?
TAKAHASHI: Yes, very much. I just happen to use folklore as a basis, but that's because it's easy to twist tales that everyone knows. As for movies, I only see them for entertainment.
ANIMERICA: Disney animation later influenced the story-oriented manga of the late Osamu Tezuka, which in turn became the basis of Japanese comics. Has animation ever influenced you?
TAKAHASHI: Not in particular. But then, Tezuka saw Disney animation and created the manga of today, and we as a generation grew up reading that, so I very much think I'm in that school.
ANIMERICA: This is an open-ended question, but I'd like to ask just how busy are you...? I'll bet American artists probably can't imagine what it's like to be drawing over one hundred pages a month.
TAKAHASHI: Isn't American comic production done in a division of labor? So the artist is infinitely talented in drawing, and the writer is infinitely talented in making stories....
ANIMERICA: Yes. In America, there are very few artists who both draw and write stories.
TAKAHASHI: ...and so, Japanese manga comes from a completely different form, where the artist does everything alone. It's not possible to excel in all tasks, but one can't succeed without a balanced combination of talents. In that sense, it's difficult to strive for perfection, but the kind of perfection that is striven for by Japanese artists is different.
ANIMERICA: Are you ever dissatisfied with your stories?
TAKAHASHI: No, I'm always fully satisfied. [LAUGHS]
ANIMERICA: It would seem that it takes a vast amount of talent to succeed as a manga artist in Japan.
TAKAHASHI: I think so. If you can draw really well but can't write a story, you'd have to become an illustrator. Even with the help of a writer, if you can't come up with good layouts, you can't make it as a manga artist. You might become a wonderful illustrator, but not a manga artist.
ANIMERICA: Do you have a message for your American fans?
TAKAHASHI: I'm grateful that you read my works, and it gives me encouragement to know that you enjoy them. My best regards to every one of you.