岸本齐史

岸本齐史（rm=Kishimoto Masashi，），日本男性漫画家。冈山县胜田郡奈义町出身。已婚，O型血。而漫画家岸本圣史为双胞胎弟弟。九州产业大学艺术学部毕业。暱称为有「キシモッさん」、「キッシー」。
代表作品《火影忍者》于1999年至2014年在《周刊少年Jump》连载，截至2019年5月，已经在46个国家/地区销售了超过2.5亿卷单行本。该系列已经被改编为三部动画与多部电影，电子游戏以及相关媒体。 除了《火影忍者》漫画之外，岸本还亲自指导了两部动画电影《火影忍者剧场版：最终章》与《火影忍者剧场版：慕留人》，并刊载了一些单篇故事。 在2019年至2020年间，在《周刊少年Jump》上连载另一部作品《SAMURAI 8 机侍 八丸传》。
岸本从小就喜欢看漫画，他以漫画家鸟山明与大友克洋为目标，表现了自己想成为漫画家的梦想。结果，岸本花了数年的时间在《周刊少年Jump》连载了自己的少年漫画，他对此感到非常高兴。

**人物简介**

**个人形象**
自小便对绘画拥有浓厚的兴趣。照本人的说法，已达到了执着的地步。升入高中后，岸本齐史开始收集集英社出版的《周刊少年Jump》漫画，并由此萌生了做漫画家的想法。早年深受《七龙珠》、《北斗神拳》、《哆啦A梦》影响，崇拜鸟山明、原哲夫、藤子·F·不二雄。毕业于九州产业大学。曾经立志创作武侠漫画，但因《浪客剑心》和《无限之住人》的推出而放弃转向忍者漫画。他所绘制的第一部漫画《日晒》便是以少年忍者为主角的短篇故事。
1996年，以《机器人》获得第132回2月期「Hop☆Step赏」佳作而正式出道。隔年1997年在《赤丸Jump》刊载短篇，1999年至2014年11月在《周刊少年Jump》连载《火影忍者》，并电视动画化（2019年的发行卷数突破2亿5000万本）。该作品在日本以外的地方的知名度也极高，在23国以上贩售漫画，在60国以上播放动画，在90国以上提供授权。
其创作风格受到许多人的影响，像是鸟山明、大友克洋、沙村广明、西尾铁也、冲浦启之、森本晃司等人。《火影忍者》动画版的角色设计之所以是西尾铁也是岸本的要求，会使用动画版的设计划来作为漫画的作画资料。也深受漫画与动画《七龙珠》、《幽游白书》、《猎人》、《忍空》 、《阿基拉》、《攻壳机动队》、《人狼 JIN-ROH》等作品的影响。电影则是北野武、昆汀·塔伦提诺、麦可·贝等导演的作品。

**个人生活**
岸本齐史是《666～撒旦～》与《徽章战役》的作者岸本圣史的双胞胎哥哥。岸本齐史在2003年结婚，但由于忙于工作，直到2015年才与妻子度蜜月。在制作《火影忍者剧场版：最终章》时，岸本在电影中提出的日向雏田为了漩涡鸣人制作围巾的想法来自于他的妻子做过的事，这为电影的相关制作人员带来了欢笑。这对夫妻育有一名儿子。

**经历**

**出生～高中时代**
岸本齐史在1974年11月8日出生于日本冈山县胜田郡奈义町，是岸本圣史的同卵双胞胎哥哥。岸本在童年时代就表现出画出他观看的动画节目中角色的兴趣，例如《怪博士与机器娃娃》的则卷阿拉蕾与《哆啦A梦》的角色。进入小学后，岸本开始与他的弟弟一起观看《金肉人》与《七龙珠》。在随后的几年中，岸本开始崇拜《七龙珠》的作者鸟山明，不仅喜欢他的作品《七龙珠》与《怪博士与机器娃娃》，也喜欢同样由鸟山担任美术设计的角色扮演电子游戏《勇者斗恶龙》系列。虽然他买不起连载《七龙珠》的《周刊少年Jump》，但是由于在学校的一位朋友会购买该杂志，于是他开始接触了该系列。中学时，因为岸本开始在学校打起棒球与篮球，逐渐失去漫画的热情。然而，在看到动画电影《阿基拉》的海报时，岸本对其构图的制作方式着迷，并希望学习该作的作者大友克洋的风格。 他喜欢的其他动画有《人狼 JIN-ROH》、《忍空》以及《攻壳机动队》。

**就读九州产业大学**
岸本为了能成为一名职业漫画家，就读九州产业大学的艺术学部，并开始花时间画漫画。进入大学后，岸本决定尝试制作武士电影类型的漫画，因为《周刊少年Jump》还没有连载该类型的漫画。然而，在同一年，岸本阅读同为武士电影类型的沙村广明的《无限之住人》与和月伸宏的《神剑闯江湖》（后者在《周刊少年Jump》上连载）。岸本回忆自从看过《阿基拉》以来从未对漫画感到如此震惊，并发现自己仍然无法与他们抗衡。 大学二年级时，岸本刚开始为漫画比赛画漫画。但是，他说明当时的作品为针对成年客群的青年漫画，而不是以儿童与青少年为目标读者的少年漫画。岸本希望自己能在《周刊少年Jump》连载针对青少年族群的漫画，却发现自己的风格不适合少年漫画杂志。 当观看动画电影《跑吧！美乐斯》时，岸本对动画师使用的角色设计感到惊讶，并开始研究动画师的作品。后来他遇到了动画《忍空》的动画师西尾铁也，西尾的作画对岸本产生很大的影响力。之后，他开始模仿了动画中多个角色设计的作画方式，他的作画风格也开始接近少年漫画的风格。

**大学毕业后**
Kishimoto's first successful manga pilot was lit. "Mechanism", which he submitted to Shueisha in 1995. This earned him an honorable mention in Shueisha's monthly "Hop Step Award" in 1996, granted to promising rookie manga artists. At this point he was assigned an editor, Kosuke Yahagi, and worked on a number of rejected drafts including a slice-of-life manga, lit. "Wandering Detour", and an action manga, Ajian Panku. In 1997, he wrote a one-shot version of NARUTO－ナルト－ which was published in Akamaru Jump Summer.
In December 1997, while redeveloping Karakuri for serialization, Kishimoto was offered a one-shot in Weekly Shōnen Jump. The new version of Karakuri debuted two weeks later in Weekly Shōnen Jump 1998 No. 4-5, but was hampered by the sudden deadline and performed poorly in reader surveys, being canceled immediately. Following the failure of Karakuri, Kishimoto reduced his output and began moving in a seinen direction with drafts for a baseball manga, lit. "Baseball King", and a mafia manga, マリオ, hoping to find better luck with a seinen magazine. Yahagi persuaded him to give the shōnen genre one last shot and Kishimoto began working on storyboards for a fantasy one-shot, Majikku Masshurūmu, but stopped when Yahagi called and asked him to instead develop storyboards for serialization. The two decided to submit a version of Naruto with a reworked story and world and produced storyboards for the first three chapters, winning a spot in the magazine. With a six-month lead time, Kishimoto repeatedly revised and redrew the first several chapters of the series.

**《火影忍者》连载**
1999年9月，《火影忍者》在《周刊少年Jump》1999年43号开始连载，并迅速在世界各国流行而成为超人气作品。经过15年的连载，火影忍者在2014年11月10日结束，总共收录了700话，单行本共72卷。截至第36卷，在日本的销售量已超过1.13亿本，在美国的销售量已超过9500万本，其次是全球（日本与美国以外）也超过9300万本。 该系列的总销量约为3.01亿本。为了表扬这个成就，岸本因此获得「第65回艺术选奖文部科学大臣新人赏」。该漫画被改编为两部动画，《火影忍者》与《火影忍者 疾风传》。岸本齐史在漫画改编成电视动画时，邀请西尾铁也担任《火影忍者》的角色设计。《火影忍者》成为Viz Media最成功的作品之一，2006年时在美国漫画市场占了将近10％的销量。由Viz Media发行的单行本第七卷在2006年是第一部获得「鹅毛笔奖」的漫画，该漫画获得了「最佳视觉小说」。 为了回应《火影忍者》的成功，岸本齐史在《Naruto Collector》Winter 2007/2008中说：「很高兴美国读者接受并喜欢忍者。这代表美国观众很有品味……因为这说明着他们可以接受他们以前不熟悉的事物。」岸本在创作漫画时，遇到了《航海王》的作者尾田荣一郎，认为他是自己的竞争对手。当《火影忍者》完结时，尾田在该漫画的最后一卷中留下讯息，认同他是竞争对手。岸本为此则回应：「那真让人感到满足。」此外，在漫画改编的动画《我的英雄学院》播出之前，他称赞了堀越耕平的作品，认为这部作品会在国外获得成功。此外，冨㭴义博是岸本最喜欢的漫画家之一。
For the video game Tekken 6, Kishimoto redesigned its new character, Lars Alexandersson. CyberConnect2 CEO Hiroshi Matsuyama said he was attracted by this design and thus asked the Tekken staff if he could include Lars in the video game Naruto Shippuden: Ultimate Ninja Storm 2. For Naruto Shippuden: Ultimate Ninja Storm Revolution, Kishimoto was responsible for Mecha Naruto upon being suggested by the staff to include a new character. Kishimoto decided on adding a character that would bring a big impact to worldwide level which resulted in Mecha Naruto. CyberConnect2 CEO Hiroshi Matsuyama was surprised when seeing the new character.
For the ninth Naruto film, Road to Ninja: Naruto the Movie, Kishimoto was responsible for both the story planning and characters' designs. To promote the film, Kishimoto worked in Motion Comic Naruto a DVD that shows scenes from the manga in 3D that was given to the first 1.5 million people who went to the cinema. Regarding Narutos publication Kishimoto told Tetsuya Nishio in July 2012 that the series would take over a year and a half to end. However, Kishimoto admitted that it now appears that the manga will continue beyond that timeframe.
Throughout 2014, Kishimoto supervised the film The Last: Naruto the Movie, which would act as a bridge connecting the series' conclusion and epilogue, providing the story concept and character designs. The Naruto series finally concluded on November 10, 2014, with The Last: Naruto the Movie premiering a month later on December 6, 2014.
During the serialization of Naruto Kishimoto also worked on several other projects. In 2010, Kishimoto produced a one-shot baseball manga, Benchi, as part of Jump's "Top of the Super Legend" project, a series of six one-shot manga by famed Weekly Shōnen Jump artists. In April 2012, it was announced that Kishimoto would publish a one-shot version of his long-postponed mafia manga, Mario, in Jump Square, based on the rough, 160-page manuscript he began working on before Naruto became serialized. Throughout 2013, several of Kishimoto's one-shots saw their English-language debut in issues of the  Weekly Shonen Jump digital magazine, including Mario, Bench, and the original Naruto pilot. In 2015, Kishimoto also illustrated the cover of violinist Chisako Takashima's album Strings on Fire.

**《火影忍者》完结后**
在《火影忍者》完结之后，岸本开始展开「火影忍者新时代开幕计划」，以纪念漫画连载15周年。在最后一章的最后一页上，《周刊少年Jump》宣布，同样由岸本创作的短篇漫画《火影忍者外传～第七代火影与绯色的花月～》于《周刊少年Jump》2015年22・23合并号至32号短期集中连载。并在2015年8月7日上映动画电影《火影忍者剧场版：慕留人》，并与小太刀右京共同合作。他还担任《火影忍者》的外传轻小说的插画。当被漩涡慕留人的声优三瓶由布子要求继续创作《火影忍者》的动画电影时，岸本说他正在休息，而没有这样的规划。.
2015年8月，岸本宣布他已经完成了下一部漫画的构想。该系列是科幻漫画，将以全新的主角作为特色，岸本已经完成了角色设计。岸本也希望新作的发展能超越《火影忍者》，并且计划在《周刊少年Jump》进行连载，由于周刊的连载需要耗费许多体力。因为岸本想有和家人一起生活的时间，正式发表新连载时尚未敲定。2015年12月19日宣布，岸本自己担任原作・监修，在《周刊少年Jump》2016年23号以每月一话的形式开始连载《火影忍者》的续篇漫画《慕留人-火影忍者新世代-》。该漫画由岸本在连载《火影忍者》时的助手池本干雄担任作画，并由在动画电影《火影忍者剧场版：慕留人》和岸本共同合作的小太刀右京担任剧本。在这之前，岸本发表短篇漫画《火影忍者外传～月圆照亮的道路～》。 在2019年6月10日发行的《周刊少年Jump》中，宣布《慕留人-火影忍者新世代-》将移籍到2019年6月20日发行的《V Jump》继续连载。
在2017年12月的「Jump Festa 2018」大会上，证实岸本正在创作一部科幻冒险漫画，于2018年首次发表。 一年之后，在「Jump Festa 2019」大会上，正式发表连载新作为《SAMURAI 8 机侍 八丸传》。岸本担任原作，负责剧本与大略的分镜，由岸本的前助手大久保彰担任作画。 该漫画于2019年5月13日在《周刊少年Jump》2019年24号开始连载，这是该杂志在日本令和时代的第一个新连载，继2019年4月27日长达4页的预告之后，代表着平成时代的结束。 该漫画于2020年3月23日发行的《周刊少年Jump》2020年17号中完结。

**影响力与风格**
While as a child Kishimoto enjoyed reading manga, he was inspired to write one after seeing a promotional image for the film Akira. This made him analyze the artwork of Akiras original author, Katsuhiro Otomo, as well as Akira Toriyama, another artist he admired. Realizing both had their own style regarding the designs, Kishimoto decided to draw manga while crafting his own images. While attending art school, Kishimoto was also an avid reader of Hiroaki Samura's Blade of the Immortal, and extensively studied Samura's page layouts, action sequences, and anatomical techniques. When Kishimoto was originally creating the Naruto series, he looked to other shōnen manga for influences while attempting to make his characters as unique as possible. Kishimoto cites Akira Toriyama's Dragon Ball series as one of his influences, noting that Goku, the protagonist, was a key factor when creating Naruto Uzumaki due to his energetic and mischievous personality. When redesigning three characters for the series, Kishimoto cites The Matrix, one of his favorite movies, as an inspiration for their outfits. He has also cited Yoshihiro Togashi as one of his favorite manga authors, while the manga Sasuke by Sanpei Shirato, a series which Kishimoto likes, inspired Kishimoto in the development of the character Sasuke Uchiha.
Kishimoto has also cited other influences such as Takeshi Kitano and Quentin Tarantino. He also mentioned Michael Bay's technique "of shooting a scene against the background light" but found it difficult to make. Another technique inspired by Jackie Chan's films he used in the Naruto manga is the "double-action"; in this action, a punch is shown in three different angles in order to give a big impact on the punch's strength. This was first shown in Naruto Uzumaki's battle against Haku. Sometimes, Kishimoto draws panels intentionally confusing during fight scenes to add a sense of speed. On the other hand, Kishimoto commented that for the fights between Naruto and Sasuke, he added action from the top of the page to the bottom in order for them to be easier to follow.
During the series' publication, Kishimoto got married and had children. The changes to his personal life affected the story as he made the protagonist Naruto Uzumaki meet his parents, something the author wanted the character to feel based on his own experience as a father.
When drawing the characters, Kishimoto consistently follows a five-step process: concept and rough sketch, drafting, inking, shading, and coloring. These steps are followed when he is drawing the manga and making the color illustrations that commonly adorn the cover of tankōbon, the cover of Weekly Shōnen Jump, or other media. The toolkit he uses occasionally changes. For instance, he used an airbrush for one illustration for a Weekly Shōnen Jump cover but decided not to use it for future drawings largely due to the cleanup required.
Masashi and his twin brother Seishi have been drawing manga together since early childhood, thus their styles are similar. As a result, each has frequently been accused of copying the other, not just artwork, but story elements as well. Seishi notes that the similarities are not intentional but are likely because they were influenced by many of the same things.
Kishimoto has admitted he made no plans in regards to the development of Narutos story developments. For example, when introducing Sasuke, the character says he wants to kill a person. By this time, Kishimoto only thought that Sasuke's brother, Itachi, had done a wrong deed in the past but was not certain of what was exactly. By volume 16 of the series which featured Itachi's actual introduction, Kishimoto decided Itachi was an agent working for Konohagakure to kill all members from the Uchiha clan except Sasuke. This is later revealed in volume 43 of the manga. Another one was the revelation that the late Minato Namikaze would be Naruto's father. When Kishimoto had the idea that Minato would be Naruto's father, he started adding hints of that to the reader such as giving the Hokage mountain from Konohagakure spiky hair similar to Naruto's.
In the making of the film Boruto: Naruto the Movie Kishimoto paid tribute to several movies, the most notable being the 1996 film The Rock and the 2002 film Spider-Man. The tribute to The Rock was mostly done by using Kishōtenketsu, which is a common way of structuring stories in Japan. He also claimed he was a fan of Avi Arad, most notably his films based on the Spider-Man comic book character.

**作品**

**漫画**

**动画电影**

**小说**

**画集**

**其他**

**参考来源**
注解：
参考资料：