■ Please tell me what “Yuki Masami’s Never Ending Story” is.

Y: That’s to say… Ah… “Yuki Masami’s Never Ending Story” consists of chats like this interviewing.


■ I will be at my wits end when this interview is a chat. LOL Do you mean chatting skits as mentioned before?

Y: No, it is not what I mean. My favorite stories are from light conversation with someone. For example, on the 1998 March issue to the April one, I drew an episode that a manga artist receives a big shot of a publishing company for taking orders and finally establishes a company. That is my favorite one. It is after all drivel. LOL


(C) Yuki Masami, Kadokawa
"Monthly Newtype" 1998 April Issue

Y: The masterpiece during the times Mieda looked after is that episode which describes there are seaside cottages for confining authors and some play in the ocean. Then, an editor scolds the writer into working. Originally, the tale came from Mieda’s dissatisfaction at Kadokawa’s having no staff cafeterias.


(C) Yuki Masami, Kadokawa
"Monthly Newtype" 2011 May Issue

■ Ah, I agree. Company cafeterias give us some happy time like meeting ex-colleagues, although some youngsters just gaze at smartphones… That aside, your manga is a mixture of nonfiction and fiction, isn’t it? It sounds you take a hint from reality and spin a fantasy, and manga-nize.

Y: No, All of my works are, “Yuki Masami’s Never Ending Story,” “Mobile Police Patlabor” and others, fictional. I will be distressed if you think they are nonfiction. The brand-new episode on 2015 December issue describes Tsukko-chan. But she is not real and much less, didn’t google.


■ I see it is a kind of caricature. But I guess there will be some who catch as nonfiction, for “essay.”

Y: Hmm… Of course, it is surely based on what I usually think of. So is every work. Reading “Jajauma Grooming★UP!” could make it clear that I was so fascinated by horse racing at the time.

Y: The advantage of “Yuki Masami’s Never Ending Story,” a monthly column, is that I can quickly show what I think of to the public. Other works have stories severally and it is difficult to reflect my thoughts. Even if possible, I have to take a time.

(C) Yuki Masami, Kadokawa Yuki Masami (Manga Artist) In 1957, born in Sapporo, Hokkaido. Debuted as a manga writer in 1980. In 1985, started "Yuki Masami's Never Ending Story" on Monthly Newtype. His representative works are "Mobile Police Patlabor," "Jaja Uma Grooming Up!" etc. Wears Aloha shirts in autumn, not just summertime.

■ I see. In that point, however, advantage is on Twitter you have used from 2010, isn’t it?

Y: Yeah, I tweet often and Twitter has taken some of material for “Yuki Masami’s Never Ending Story.” On the other hand, I tread warily in Twitter. Commenting on something is possible to call somebody who directly reacts there. So I always pay head to tweeting like ”I think” it is interesting.


■ Although Twitter can rapidly shows what you guess, has no cushions like caricature. In the essay, you have often objected to statesmen. Haven’t you received any threatening letters?

Y: No at all. There were seldom reactions when internet was not widespread. So it can be a fruit of the network that I easily know how readers feel.


■ Is it concluded “Yuki Masami’s Never Ending Story” includes something like chats and quickly reflects your thoughts?

Y: Well… That must be a kind of memoirs. It is also manga and fiction, but.