岸本齊史

岸本齊史（，

代表作品《火影忍者》於 1999 年至 2014 年在《週刊少年 Jump》連載，截至 2019 年 5 月，已經在 46 個國家 / 地區銷售了超過 2.5 億卷單行本。該系列已經被改編為三部動畫與多部電影，電子遊戲以及相關媒體。 除了《火影忍者》漫畫之外，岸本還親自指導了兩部動畫電影《火影忍者劇場版：最終章》與《火影忍者劇場版：慕留人》，並刊載了一些單篇故事。 在 2019 年至 2020 年間，在《週刊少年 Jump》上連載另一部作品《SAMURAI 8 機侍 八丸傳》。

岸本從小就喜歡看漫畫，他以漫畫家鳥山明與大友克洋為目標，表現了自己想成為漫畫家的夢想。結果，岸本花了數年的時間在《週刊少年 Jump》連載了自己的少年漫畫，他對此感到非常高興。

人物簡介

1.1 個人形象

自小便對繪畫擁有濃厚的興趣。照本人的說法，已達到了執著的地步。升入高中後，岸本齊史開始收集集英社出版的《週刊少年 Jump》漫畫，並由此萌生了做漫畫家的想法。早年深受《七龍珠》、《北斗神拳》、《哆啦 A 夢》影響，崇拜鳥山明、原哲夫、藤子・F・不二雄。畢業於九州產業大學。曾經立志創作武俠漫畫，但因《浪客劍心》和《無限之住人》的推出而放棄轉向忍者漫畫。他所繪製的第一部漫畫《日曬》便是以少年忍者為主角的短篇故事。

1996 年，以《機器人》獲得第 132 回 2 月期「Hop☆Step 賞」佳作而正式出道。隔年 1997 年在《赤丸 Jump》刊載短篇，1999 年至 2014 年 11 月在《週刊少年 Jump》連載《火影忍者》，並電視動畫化（2019 年的發行卷數突破 2 億 5000 萬本）。該作品在日本以外的地方的知名度也極高，在 23 國以上販售漫畫，在 60 國以上播放動畫，在 90 國以上提供授權。

其創作風格受到許多人的影響，像是鳥山明、大友克洋、沙村廣明、西尾鐵也、沖浦啟之、森本晃司等人。《火影忍者》動畫版的角色設計之所以是西尾鐵也是岸本的要求，會使用動畫版的設計畫來作為漫畫的作畫資料。也深受漫畫與動畫《七龍珠》、《幽遊白書》、《獵人》、《忍空》 、《阿基拉》、《攻殼機動隊》、《人狼 JIN-ROH》等作品的影響。電影則是北野武、昆汀・塔倫提諾、麥可・貝等導演的作品。

1.2 個人生活

岸本齊史是《666～撒旦～》與《徽章戰役》的作者岸本聖史的雙胞胎哥哥。岸本齊史在 2003 年結婚，但由於忙於工作，直到 2015 年才與妻子度蜜月。在製作《火影忍者劇場版：最終章》時，岸本在電影中提出的日向雛田為了漩渦鳴人製作圍巾的想法來自於他的妻子做過的事，這為電影的相關製作人員帶來了歡笑。這對夫妻育有一名兒子。

經歷

2.1 出生～高中時代

岸本齊史在 1974 年 11 月 8 日出生於日本岡山縣勝田郡奈義町，是岸本聖史的同卵雙胞胎哥哥。岸本在童年時代就表現出畫出他觀看的動畫節目中角色的興趣，例如《怪博士與機器娃娃》的則卷阿拉蕾與《哆啦 A 夢》的角色。進入小學後，岸本開始與他的弟弟一起觀看《金肉人》與《七龍珠》。在隨後的幾年中，岸本開始崇拜《七龍珠》的作者鳥山明，不僅喜歡他的作品《七龍珠》與《怪博士與機器娃娃》，也喜歡同樣由鳥山擔任美術設計的角色扮演電子遊戲《勇者鬥惡龍》系列。雖然他買不起連載《七龍珠》的《週刊少年 Jump》，但是由於在學校的一位朋友會購買該雜誌，於是他開始接觸了該系列。中學時，因為岸本開始在學校打起棒球與籃球，逐漸失去漫畫的熱情。然而，在看到動畫電影《阿基拉》的海報時，岸本對其構圖的製作方式著迷，並希望學習該作的作者大友克洋的風格。 他喜歡的其他動畫有《人狼 JIN-ROH》、《忍空》以及《攻殼機動隊》。

2.2 就讀九州產業大學

岸本為了能成為一名職業漫畫家，就讀九州產業大學的藝術學部，並開始花時間畫漫畫。進入大學後，岸本決定嘗試製作型別的漫畫，因為《週刊少年 Jump》還沒有連載該型別的漫畫。然而，在同一年，岸本閱讀同為型別的沙村廣明的《無限之住人》與和月伸宏的《神劍闖江湖》（後者在《週刊少年 Jump》上連載）。岸本回憶自從看過《阿基拉》以來從未對漫畫感到如此震驚，並發現自己仍然無法與他們抗衡。 大學二年級時，岸本剛開始為漫畫比賽畫漫畫。但是，他說明當時的作品為針對成年客群的青年漫畫，而不是以兒童與青少年為目標讀者的少年漫畫。岸本希望自己能在《週刊少年 Jump》連載針對青少年族群的漫畫，卻發現自己的風格不適合少年漫畫雜誌。 當觀看動畫電影《跑吧！美樂斯》時，岸本對動畫師使用的角色設計感到驚訝，並開始研究動畫師的作品。後來他遇到了動畫《忍空》的動畫師西尾鐵也，西尾的作畫對岸本產生很大的影響力。之後，他開始模仿了動畫中多個角色設計的作畫方式，他的作畫風格也開始接近少年漫畫的風格。

2.3 大學畢業後

Kishimoto's first successful manga pilot was , 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, , and an action manga, . In 1997, he wrote a one-shot version of 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, , and a mafia manga, , 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, , 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.

2.4 《火影忍者》連載

1999 年 9 月，《火影忍者》在《週刊少年 Jump》1999 年 43 號開始連載，並迅速在世界各國流行而成為超人氣作品。經過 15 年的連載，火影忍者在 2014 年 11 月 10 日結束，總共收錄了 700 話，單行本共 72 卷。截至第 36 卷，在日本的銷售量已超過 1.13 億本，在美國的銷售量已超過 9500 萬本，其次是全球（日本與美國以外）也超過 9300 萬本。 該系列的總銷量約為 3.01 億本。為了表揚這個成就，岸本因此獲得「第 65 回藝術選獎文部科學大臣新人賞」。該漫畫被改編為兩部動畫，《火影忍者》與《火影忍者 疾風傳》。岸本齊史在漫畫改編成電視動畫時，邀請西尾鐵也擔任《火影忍者》的角色設計。《火影忍者》成為 Viz Media 最成功的作品之一，2006 年時在美國漫畫市場佔了將近 10％的銷量。由 Viz Media 發行的單行本第七卷在 2006 年是第一部獲得「鵝毛筆獎」的漫畫，該漫畫獲得了「最佳視覺小說」。 為了回應《火影忍者》的成功，岸本齊史在《Naruto Collector》Winter 2007/2008 中說：「很高興美國讀者接受並喜歡忍者。這代表美國觀眾很有品味…… 因為這說明著他們可以接受他們以前不熟悉的事物。」岸本在創作漫畫時，遇到了《航海王》的作者尾田榮一郎，認為他是自己的競爭對手。當《火影忍者》完結時，尾田在該漫畫的最後一卷中留下訊息，認同他是競爭對手。岸本為此則回應：「那真讓人感到滿足。」此外，在漫畫改編的動畫《我的英雄學院》播出之前，他稱讚了堀越耕平的作品，認為這部作品會在國外獲得成功。此外，冨樫義博是岸本最喜歡的漫畫家之一。

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, , 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.

2.5 《火影忍者》完結後

在《火影忍者》完結之後，岸本開始展開「火影忍者新時代開幕計畫」，以紀念漫畫連載 15 週年。在最後一章的最後一頁上，《週刊少年 Jump》宣佈，同樣由岸本創作的短篇漫畫《火影忍者外傳～第七代火影與緋色的花月～》於《週刊少年 Jump》2015 年 22・23 合併號至 32 號短期集中連載。並在 2015 年 8 月 7 日上映動畫電影《火影忍者劇場版：慕留人》，並與小太刀右京共同合作。他還擔任《火影忍者》的外傳輕小說的插畫。當被漩渦慕留人的聲優三瓶由布子要求繼續創作《火影忍者》的動畫電影時，岸本說他正在休息，而沒有這樣的規劃。.

2015 年 8 月，岸本宣佈他已經完成了下一部漫畫的構想。該系列是科幻漫畫，將以全新的主角作為特色，岸本已經完成了角色設計。岸本也希望新作的發展能超越《火影忍者》，並且計劃在《週刊少年 Jump》進行連載，由於週刊的連載需要耗費許多體力。因為岸本想有和家人一起生活的時間，正式發表新連載時尚未敲定。2015 年 12 月 19 日宣佈，岸本自己擔任原作・監修，在《週刊少年 Jump》2016 年 23 號以每月一話的形式開始連載《火影忍者》的續篇漫畫《慕留人 - 火影忍者新世代 -》。該漫畫由岸本在連載《火影忍者》時的助手池本幹雄擔任作畫，並由在動畫電影《火影忍者劇場版：慕留人》和岸本共同合作的小太刀右京擔任劇本。在這之前，岸本發表短篇漫畫《火影忍者外傳～月圓照亮的道路～》。 在 2019 年 6 月 10 日發行的《週刊少年 Jump》中，宣佈《慕留人 - 火影忍者新世代 -》將移籍到 2019 年 6 月 20 日發行的《V Jump》繼續連載。

在 2017 年 12 月的「Jump Festa 2018」大會上，證實岸本正在創作一部科幻冒險漫畫，於 2018 年首次發表。 一年之後，在「Jump Festa 2019」大會上，正式發表連載新作為《SAMURAI 8 機侍 八丸傳》。岸本擔任原作，負責劇本與大略的分鏡，由岸本的前助手大久保彰擔任作畫。 該漫畫於 2019 年 5 月 13 日在《週刊少年 Jump》2019 年 24 號開始連載，這是該雜誌在日本令和時代的第一個新連載，繼 2019 年 4 月 27 日長達 4 頁的預告之後，代表著平成時代的結束。 該漫畫於 2020 年 3 月 23 日發行的《週刊少年 Jump》2020 年 17 號中完結。

影響力與風格

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

4.1 漫畫

4.2 動畫電影

4.3 小說

4.4 畫集

4.5 其他