Interview with Akihito Tsukushi of Made in Abyss and screenwriter Hideyuki Kurata! 2019.05.30

In a world where every corner of the earth has been explored, the Abyss is the only remaining unexplored, large hole.

It is said that strange and bizarre creatures inhabit this huge and deep cavern, and that if one dives into its depths, he will never be able to return.

Rico, an orphan who dreams of unraveling the mysteries of the Abyss, happens to meet a robot named Reg, who takes the form of a young boy. The two challenge the end of the Abyss in search of Liza, Rico’s mother, who is a great explorer and has been separated from him.

Made in Abyss” is one of the most popular fantasy works of the 21st century, depicting cute characters taking on tough adventures in a one-of-a-kind worldview. It is serialized in “WEB Comic Gamma,” and its long-awaited new volume, volume 8, was released on May 30.

In 2017, it was adapted into an animated TV series, which was a big hit among anime fans for its dynamic action, detailed and realistic backgrounds, and accompanying music that immerses the viewer in the world. A new film version, “Made in Abyss: Deep Souls,” is scheduled to be screened in January 2020.

Commemorative PV for the 2nd season of “Made in Abyss

To commemorate the release of the newest edition, we were joined by Akihito Tsukushi, the creator of “Made in Abyss,” and Hideyuki Kurata, who is also the series director and screenwriter of the film version, following the TV anime version.

Mr. Kurata, who says, “The deeper we go into the Abyss, the more relentless it becomes, and the more scared I get of Tsukushi-san,” unveils the depths of Tsukushi-sensei in this rare conversation!

reference　コミスぺ　Web media for traveling through the manga universe

スポンサーリンク

Up to three animated episodes are “in ideal shape.”　”Made in Abyss”

───What were the initial meetings like after Mr. Kurata was chosen to write the script for the anime?

Tsukushi: I remember Kurata-san saying, “Oh no, this manga is very interesting, it will sell more than “ONE PIECE”! I remember Mr. Kurata telling me a very terrible lie (laugh).

Kurata : No, no, I don’t know yet. If it comes out in India or some other country, it may sell over 1 billion copies (laugh). In fact, it is popular overseas as well.

─ Until the other day, Ⅿr. Tsukushi was in Naples, Italy, right?

Tsukushi: Yes, we were invited to the Comic-Con* in Naples. Thankfully, a lot of fans came to see us. As is the case in Japan, I was surprised to find that “Made in Abyss” has a surprisingly large number of female readers.

(Comic-Con: Common name for comic conventions. (Comic-Con: A pop culture-related event that originated in the U.S. and is held around the world for entertainment such as manga and movies.)

Kurata : Is it because Nanachi is cute?

Tsukushi: I think that’s part of it, but the “relationships” between the characters, like Nanachi and Mity, or Liza and Ozen, seem to be getting a great response, rather than just the characters themselves.

Kurata: Liza and Ozen are the most Han-like friendship in manga (laugh).

Liza and Ozen’s passionate friendship

When Liza said “married”, the shocked look on Ozen’s face had an impact.

Liza tells Ozen of her marriage.

─ ─ When did you write the script for the TV series “Made in Abyss”?

Kurata : The actual work was done three years ago, and at that time, I think only three volumes of the book had been published.

Tsukushi: We talked about whether we should do it up to the point where Ozen would appear or Nanachi would appear, and I said, “It would be better to have Nanachi appear. Everyone must want to see Nanachi.

Kurata : That’s right (laugh).At first, I was writing up to the point where Bonsan (Bondordo) came out. But then the scenario would have been rushed.

Tsukushi: The first volume of a manga has a long explanation section, so it is a matter of how much you can shorten that section. So I asked them to make the initial development interesting.

And when I saw the finished anime, it was so ideal that I wished the manga would have turned out like this.

Kurata: The last line of the original volume 1, “it had begun.” of Riko parting from Nat, had to be kept in the anime, but if we changed the flow of the beginning of the volume 1, this line would be lost.

With this in mind, I moved the story of the “star compass” at the beginning of volume 1 to the beginning of episode 2 of the anime, and repeatedly omitted and replaced various other elements until episode 3 of the anime.

The last part of volume 1, which links the conversation, “It had begun!”

Tsukushi: At the script meeting, when the scene with the star compass was about to be cut, I said, “This is actually an important item!

Kurata : Because even in the main story, I lose my star compass in no time (laugh).

Well, we went through a trial and error process like this because, unlike a book of manga, anime is a medium that people who are not at all interested in “Made in Abyss” may be exposed to.

We had to convey the appeal of the work at a glance, so in the first episode we showed the setting of the town and what kind of life the residents lead, and ended with a panoramic view of Aus. The visual impact of that scene was great!

The character’s sense of normalcy is off. That is the charm of “Abyss”.

Tsukushi: I heard that Kazuya Kise, the character designer, made some adjustments himself from the first episode. I am very grateful to him for adding the detailed acting to the story.

Kurata : At first, Kise-san said he would only do character design because he felt sorry for the child and couldn’t stand me, but in the first episode he even directed the animation. He is a tsundere (laugh).

Tsukushi: “I would never do an animation in which children suffer terrible things. That’s why I won’t do the Bondrudo version for the theater,” but the design of Bondrudo is so exciting and amazing.

Kurata : Mr. Kise designed all the facial expressions of the Abyss characters, which have a unique touch, to make them easy to animate. He did an outstanding job.

Tsukushi: I really like the adult faces that Kise-san draws. I respect Kise-san’s drawings so much that the adult characters in the manga that have appeared since the anime adaptation have been influenced by his drawings.

─ Is there anything that makes “Made in Abyss” different from other anime?

Kurata: There are so many “nnaa~”! (Nanachi’s way of speaking)

Tsukushi: Nanachi has about 100 ways of speaking “Nna~” and all of her replies and questions are “Nna~”. But when I saw the script for the movie version, a lot of “nna~” was omitted. ……

Kurata : Because “Nna~” appears about 3 times in 2 pages, and Nanachi doesn’t speak other than that (laugh).

─ ─ (laugh).” Is there anything else besides “Nna~”?

Kurata : In a normal anime, the first step is to decide on a set-up, such as, “Let’s make this part exciting, create a climax here, and end with a happy ending.

In the case of “Made in Abyss,” however, there is no mistake in the actions of the characters, but when you think calmly, “Is this a happy ending ……? I often lose track when I think about it calmly. There are a lot of characters that you can’t decide if they are good guys or bad guys.

If you make a mistake in the right degree of adjustment, you end up with something completely different from the original goodness of the film. That was a scary part for me as a scriptwriter. For example, Ozen seems to be a good guy, but I wondered if it was okay for him to hit Reg so hard. Or so I thought.

Tsukushi: Well, maybe not the good guys. I drew Ozen with the intention of making him the last boss if you meet him in a deep hierarchy. I intend to make sure that every character with a “white flute” will not be cheesy.

Kurata: The people of Shirofue are all a bit out of touch with the world. I thought this was Tsukushi’s characteristic. Both the worldview and the characters are somehow skewed and distorted in a good way from what normal people think.

I feel that this is Tsukushi’s unique personality, and “Made in Abyss” is a special work built on that. That is why it was very rewarding to work on it.

At first glance, Riko seems to be a normal girl, too, with a lot of energy and glasses, but at that age, she is happily diving toward the bottom of a hole from which she can never return. That is still a bit strange. She says things like, “I miss my mother,” but then she becomes more and more attracted to the diving itself.

Tsukushi: Continuing the adventure itself has been fun.

─ ─ It seems difficult to incorporate that kind of “Made in Abyss” personality into an anime script.

Kurata: So, I first had to know what kind of person Tsukushi-san was, and when we first met, we did nothing but chat.

Tsukushi: Yes, we talked about “Baki” (laugh).

Kurata: When I asked him what he liked, he told me that he often watched documentaries such as “National Geographic” and “Animal Planet. He also liked the movie “127 Hours,” and his tastes were similar to mine.

Also at that time, I was convinced when Tsukushi-san mentioned as one of his favorite manga a work called “Mountains of the Gods,” which depicts men obsessed with climbing Mount Everest. I wondered if that was the reason why he was so good at drawing characters obsessed with the Abyssal Hole.

The final episode of the TV series is an original episode. The story behind its birth

─ ─ The message ship was prepared as the last of the original anime.

Kurata : There was a message ship drawn on the back of the cover of the first volume, and I thought it would be an interesting means of communication for the Abyss. When we decided to make the last part of the story a departure with Nanachi, director Masayuki Kojima suggested that we use this.

Tsukushi: In the early storyboards, the message ship reached the city of Aus in a straightforward manner, but the probability of the message ship reaching the top is almost zero, almost none.

Kurata : So, after much discussion, we decided on that last part, where the message ship, battered by Marluk’s help, is reinforced and Nat picks it up just in time at that spot where Rico found Reg.

Then Kevin (kevin penkin) wrote a super nice piece of music and took all the ooi part.

All: (laughs)

Tsukushi: A super emo song enters with the magnificent scenery of the Abyss in the background. I was impressed by the power of the pictures and music.

Kurata: But if you think about it calmly, nothing was resolved at that point in time. We haven’t even met your mother, we don’t know who Reg is, and our adventure has just begun! It was like the end of the story (laugh).

Tsukushi: The only good thing that happens is that one fluffy creature comes along.

Kurata : And yet, we showed the final episode at an advance screening, and the response was very positive, with no complaints from the audience who came to see it.

The raw pain at the beginning of the movie version that makes you realize you’re back in the Abyss.

The Made in Abyss movie is coming out.

Kurata: It is more interesting to watch the Bondorudo-hen episodes as if they were folded into each other, rather than as if they were separated by 20 or so minutes in a TV anime and you say, “To be continued next week. I wanted to do the battles all at once, so it was good to be able to do it in a theater.

Tsukushi: Mr. Kurata did a good job of putting together the composition, and it was very complete. He changed the episodes in the middle and rearranged them well. This and that overlap! Yes, yes, this is good! I was so excited to see the conte shoot, and it was interesting to see …….

Kurata: One of the highlights of the movie version is the frost pillar-like scenery around the base of Bondrud. I think that kind of background looks beautiful in the animation, giving a sense of spatial expansion.

─ How did you feel about writing the script for the movie version?

Kurata: At the beginning of the film, there are a lot of insects, and the corpse is being eaten by insects and crawling around, I really felt like I was back in Abyss.

Somehow I had a heartwarming afterglow from the last episode of the TV anime version, but the new theatrical version after 2 years made me feel like I was back, saying “Wow, that’s definitely how ‘Abyss’ was” (laugh).

Tsukushi: I had the impression that small creatures are terrifying, so I wanted to draw a scene where I was attacked by lots of small insects.

Kurata: Tsukushi-san seems to like the scene at the beginning of “The Lost World/Jurassic Park” where a girl gets tangled up with a small dinosaur and almost gets eaten bit by bit (laugh).

Tsukushi: Wouldn’t you rather be eaten bit by bit by a small one than swallowed whole by a big monster?

Kurata : “Made in Abyss” does a good job of showing that kind of raw pain, and when Riko’s arm swells up from the poison in the TV anime, it’s depicted as if it would be just as bad in real life.

─ I feel that you don’t run away from the tragic descriptions without making light of them.

Kurata : “Abyss” is a fantasy, but the rules used are in line with documentaries and non-fiction. There is no lie in the part that says, “If you do this, people will die.

Tsukushi: I learned that from “Silver Spoon” (laugh).

Kurata: I didn’t realize that (laugh). There is no recovery magic or potion that says, “If you drink it, your wound will heal completely,” so it takes time to heal, and Rico’s arm is immobilized, so there are aftereffects. But he’s having fun talking about how the journey will be much different if only his thumb works or not.

Tsukushi: She is happy that she can still have adventures.

Kurata: she does not see his arm injury as a tragedy, but rather as a positive thing. This characterization is amazing.

Tsukushi: Rico has seen many dead bodies pulled up in the city of Aus after being killed by Tamaugachi. Some of them are already swollen and bloated.

she has seen that, so she thinks positively that she is blessed with a good chance because she only needed one arm. But, on the other hand, I think there are more than a few people on the ground who are pissed off at Rico for being such a daredevil.

Rico is the type of person who can’t work in a company but can sing a song that moves the whole world, the type of person who is socially inept but whose talent shines only in certain places.

Tsukushi: That’s it! There is a line in “Ridge of the Gods” that I really like.

I’m trash. I’m less than trash, if I’m not climbing mountains. If I don’t climb mountains, Joji Hanyu is just trash.

Rico is exactly the same kind of person.

Bondord and Rico’s relationship is similar to that of “Dr. Lecter and Clarice.”

─ ─ What do you think about the original manga?

Kurata: As you read the first three volumes, you can see that the manga creation process has grown a lot; in the first story, the introduction of the worldview was groping and there was a lot of monologue explanation. But from the second volume onward, the worldview evolves in such a way that the characters’ dialogue and movements are enough to naturally convey the worldview.

Tsukushi: I gradually learned how to create characters. For example, at first Ozen was a grandpa, and Marluk was supposed to be a normal girl.

The catalyst for the change came after reading Kazuo Koike’s book “The Art of Attracting People: How to Create Characters that Sell,” in which the charismatic author of gekiga teaches how to create characters that sell. When you put characters with vast backgrounds against each other, something happens. That is what makes a drama, and this book taught me to draw that.

Just by having bondord and Rico and the others bump into each other, drama is created. I interpreted in my own way that this is what “characters move on their own” means.

Kurata : When I was writing the script for the Bondord version, I saw the relationship between Bondord and Rico as a kind of “mutual pity for the same disease,” as if they understood each other.

I thought this was similar to the relationship between Dr. Lecter and Clarice in “Silence of the Lambs” and “Hannibal. The reason Lecter keeps Clarice alive is because “the world is more interesting with you in it. I think this line, where they understand each other so well, is similar to the relationship between Bondord and Rico.

Tsukushi: Yes, I feel like I am resonating with the other party somehow.

Kurata: Bondrudo tells Rico that maybe you are much more on this side of the race than I think. Rico replies that he can understand your roman, though he is not willing to forgive you in the slightest. They really understand each other’s point of view.

Kurata : They are distanced from each other, but their souls are attracted to each other. By that time, both Rico and Bon-san were complete as characters, and they had a very good interaction with each other.

Tsukushi: The conversation between Bondrudo and Rico is left to the two of them, and the words come out very naturally. Even when the author wants the story to take a different turn, the characters move on their own.

We decided on a name that would sound less dumb when shouted.

─ ─ How was the title decided?

Tsukushi: At first, it was “Hello Abyss,” but my editor at the time said it had little impact, so I changed it. After thinking of words that would not be a hit in a search, we decided on “Made in Heaven,” which is also used as a stand in “JoJo’s Bizarre Adventure,” from the Queen’s music.

Kurata: As the story progresses, I get the sense that this work was created from the depths of Tsukushi-san, which can be translated as “Abyss = profundity or darkness,” and I feel that he gave it an excellent title.

Tsukushi: Thank you. Also, about the character names, I’ve been doing a search for all of them since Marluk, because I’m concerned about the coverings.

─ ─ I have recently been having a problem with names that are hard to pronounce. Especially after entering the village of Narehate, the names of all the new characters are hard to pronounce.

Tsukushi: But wazcan sounds like Azunyan.

Kurata: Azunyan, huh?

Tsukushi: I like the Azunyan-like feel of the word (laugh).

azunya( keion)

Kurata : Even in fantasy works, you can get a rough idea of which country the culture is leaning toward by the sound of the name. But the naming of “Made in Abyss” is exquisitely balanced in a stateless way.

Tsukushi: Sometimes you see Russian-sounding names like Pruschka, and if you ask me, that’s true. Rico and Reg are the only ones I decided on without thinking about it first.

Since then, I have been following the lesson of Dr. Koike, “Names are important. I have been naming them according to the lesson of Mr. Koike: “It is important that the person has a face with that name when you call out to him or her.

I also made sure that the names did not sound stupid when they were shouted. Theta and Pazoo from “Laputa: Castle in the Sky” have names that are very easy to shout out and are very comfortable. I feel that the sound of their names is beautifully decided.

Kurata : The part where he shouts “Seeter” and “Pazoo” while riding the flying machine inside the burning castle walls is a great scene. But how did you come up with the name “Bondordo”? The staff calls me ” Bonsan” (laugh).

Tsukushi: The mechanical mask and the monster-like name fit together perfectly.

Kurata :　 Bonsan, really are like a monster. But you did a great job coming up with the idea of expanding the world view of “relics. It helps to resolve the situation, and I thought it was like a stand from “Jojo.

tsukushi: But relics have advantages and disadvantages, in a manner of speaking.

Kurata: Compared to other manga, it is a perfect balance.

tsukushi: That is the influence of “HUNTER x HUNTER.

Kurata: Oh, I see! Like the tingling sensation you get when you read it, or the feeling that the characters are really going through something terrible. Yes, they do have that in common.

Tsukushi: The telekinesis abilities in “HUNTER x HUNTER” look really cool with katakana readings on the kanji characters. For example, a relic called “Mental Slave Machine” has the reading “Zoaholic.

Kurata : It is very difficult to do that in anime. Every time a relic appears, I wonder whether it is better to have the characters shout in katakana or in kanji (laugh).

─ Do the relics themselves have an original story?

Tsukushi: Not all of them, but some, such as “Star Compass,” are based on “Magic the Gathering. It has some really cool flavor text on it, like “This compass points to my hometown.” It said “incinerate” for cremation in “Magic,” so I decided that Reg’s cremation gun would be “incinerator,” then.

What inspired the climax of volume 7?

Kurata: I also think it’s great that you include contemporary issues such as the Miti case, death with dignity and elderly care.If only Mity remains after her death, isn’t that more unfortunate? Nanachi is getting more and more worried about this. Was this calculated or coincidental?

Tsukushi: It is a coincidence. It’s just the way it happened in the story.

Kurata: I think it is a good manga if it is included naturally. If you force social themes into it, it becomes unnatural. The only unnatural thing is that Marlux is wearing a maid’s uniform.

Tsukushi:That was Mr. Ozen’s hobby, so I don’t blame him. .Well, he’s she direct disciple (laugh).

Kurata: Volume 7 starts off low-key and then the flashy action starts at the end, but this is all calculated, isn’t it?

Tsukushi: Yes, I always wanted to do flashy action, and I put a lot of energy into it because it would only be possible to depict it here.

─ I felt that the battle between Ogasmi and Geroimo was very “Pacific Rim” like.

Tsukushi: That was inspired by the big mid-boss in the middle of “Dark Souls. The player has to repeatedly attack the boss’s feet to defeat him, but I wanted to see a fight between these bosses.

Movie introduction comics are hot these days!

We always ask you about your favorite manga, and your first choice is “The Summit of the Gods”?

Tsukushi: Yes. The books of “The Summit of the Gods” and Kazuo Koike had a great influence on me in drawing manga. Also, “Soredemo Machi wa Mawatteiru” by Masakazu Ishiguro as the technical basis of manga.

The Summit of the Gods

Soredemo Machi wa Mawatteiru

kazuo koike

Manga is extremely interesting even if it is just a sequence of six panels. Ishigurosensei does it in a very calculated way.

─ ─ What recent manga have you enjoyed?

tsukushi: “Keep Your Hands Off Eizouken ! is a manga that I feel no one else can draw. I feel that sumito oowara sensei is drawing this manga to redeem himself.

Keep Your Hands Off Eizouken !

Also, the backgrounds drawn by Mr. oowara are very good, as he draws paragraphs that are meant to move you, as if the world will expand if you take one step forward. When the anime adaptation was announced, I wondered who was going to make it, and it turned out to be director Masaaki Yuasa. I thought, “There is no one else but him,” and I can’t wait to see it.

─ I think it has something in common with “Abyss” in that it is very particular about its background.

Tsukushi: In manga, there is a notion that “the characters are the main characters and the background is a supporting role,” but I felt strangely uncomfortable about this. The background is the best partner for the reader to be moved by the world, so why not draw it appropriately? I thought.

─ So you draw the background as one of the characters?

Tsukushi: That is why I am conscious of actively using the backgrounds to create the story.

In “Soubouteikowasubeshi,” too, the story turns from a haunted house to an epic past episode set in space. (That space life form) can turn into a haunted house? And. But it all comes back to the haunted house, and in the end, that house remains scary. This is what makes it so interesting.

Soubouteikowasubeshi

─ What do you think of Kurata-sensei’s recent good manga?

Kurata : “BL Metamorphosis” was interesting in that it steadily depicted a grandmother gradually becoming addicted to BL.

BL Metamorphosis

Also, syouta Hattori-sensei drew a manga,
『邦画プレゼン女子高生 邦キチ! 映子さん』

hougapresenjoshikouseihoukichi!eikosan

The main character is only interested in Japanese films and has never read manga, so when he saw the “live-action Dragon Ball EVOLUTION” and thought to himself, “Is this ‘Dragon Ball’?” it was super funny.

Recently, there have been more and more manga introducing movies, and I liked the ” ” Mad Max: Fury Road “　episode of 　Kinene-san one-man kinema.

Dragon Ball EVOLUTION

Kinene-san one-man kinema

Tsukushi: “Goodnight Scheherazade” is also good.

Kurata: I misunderstood the movie Sonatine and the gag “Comaneci” and asked, “Beat Takeshi’s Comaneci is appreciated abroad ……? Is there some deeper meaning in that unusual pose?” I think about it. That kind of thing was interesting.

Sonatine

gag　（Comaneci　）This is a very famous gag in Japan by director Takeshi Kitano, inspired by the gymnastic gymnast Komaneci.

I also recommend “Cinema Complex! is also recommended. I even buy “Dragon Age Monthly” for this film. There are three female seniors in a high school film club, and all three of them are weird.

cinema complex

Tsukushi: Speaking of manga set in the countryside, “Yoshino Zuikara” by Satsuki Yoshino of “Barakamon” is also very interesting. I recommend it as a manga artist’s version of “Barakamon.

To “impress” is to wound the reader’s heart in a cool way.

─ Finally, what are the highlights of the latest 8 volumes?

Tsukushi: Volume 8 has about 40 pages of recollections of the Ganja team, and the kids don’t show up at all. So I got sick and …… it’s hard to stay motivated if Rico and his friends don’t appear. ……

But it was the only chance I had to see the Abyss from a different angle, so I wanted to draw it, and I think I did a great job with the content! And it comes with about 15 pages of new drawings where nothing happens, which is rare for this manga.

─ Are you saying that people don’t get hurt?

Tsukushi: That’s right. But as for the main story, I drew it again with the intention of making the readers feel like they are in a mess.

Kurata: very aggressive. I always say in interviews that the further you go down in “Made in Abyss”, the more terrible mysteries are revealed and the more Tsukushi-san’s proclivities are revealed (laugh).Well, that’s a joke, but the point is that it actually reeks a little bit of sexual proclivity, especially the navel cut in the Bondrudo version! It was painful and painful just to read it.

The deeper we go into the Abyss, the more unforgiving it becomes, and I find myself getting more and more scared of Tsukushi-san (laugh). In both manga and novels, the biggest driving force to keep reading is wondering what will happen next and how the story will end, but with Made in Abyss, you really don’t know.

When I read it to its conclusion, I’m terrified because I can’t predict what emotions will come out of me. But I have a feeling that it won’t be complete hope or complete despair.

Tsukushi: Regarding that, I was impressed by what Mr. Otsuichi and Mr. Hirohiko Araki said in their discussion at the end of “Jojo’s” spin-off novel “The Book – jojo’s bizarre adventure 4th another day~”.

It was written that the ending of this story was not a happy ending, but it was rich. I realized that a story can have a rich ending even if it does not have a happy ending. My stereotypes were overturned.

Kurata: Even the last part of Jozi Part 3 was fun even though there were a lot of hard times when Polnareff said goodbye …… even though half of his traveling companions are dead. He says that this trip was fun because everyone was there. That part made me cry so hard.

Tsukushi: That scene made me cry too.

Kurata: Even though Kakyoin, Iggy, and Abdul are dead, the story ends with an enjoyable journey, and since all three fulfilled their goals, the word “enjoyable” is very convincing, and that kind of ending is very moving.

Tsukushi: I believe that to move people is not to shake their hearts, but how to scar their hearts in a cool way.

Kurata: Good phrase!

Tsukushi：That way, every time I see a scar, I want to remember and talk about it. At the moment you get hurt, you feel depressed, but after time passes, it becomes a beautiful memory, and you can talk about it calmly while looking at the old scars. Then I go back and read it one more time and think, “Sorry, it was really tough.

Kurata : When the seventh volume came out, I wrote my impression on the bonus paper of Comic ZIN. I said that Maid in Abyss was similar to a scary manga I read as a child.

It reminded me of the trauma of reading Devil Man in elementary school and being dismayed. I was not ready for it, and then I was forced to read an adult’s egregious manga before I was ready for it. I was shocked to see that Doraemon is not the only thing in this world ……. At the same time, I felt as if I was touched by the author’s philosophy. Such an atmosphere is wafting from Tsukushi’s manga.

Tsukushi: I was very happy to hear you say so. I draw “Made in Abyss” with an awareness of how cool and hurtful I could be to my boyhood self.

─ Thank you very much for today!

Made in Abyss　(World’s largest number of translations)

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