Time to talk volumes 25 and 26! I said I would translate the afterwords for both volumes together, and I have regrets. So, it’s a week late, but I finally finished.
Why did I put volumes 25 and 26 together? Because each contains about half of the 5 chapter long “Village of the Sleeping Vessel” arc, and because they were treated as two halves of a whole. As you can see above, both the cover illustrations and the afterword illustrations are part of a set: complementary Natori/Matoba covers and complementary Natsume/Tanuma illustrations. Because I’ve never compared these two pairings or anything.
The covers are interesting for the way they seem to reflect Natori and Matoba’s contrasting points of view. But I’m most personally interested in the afterword illustrations because they seem rather optimistic to me, and because they tell a story. While the first half was melancholy, and seemed to suggest that Natsume and Tanuma would be drawn to each other even if Natsume were hopelessly cut off from the human world, the second half seems to show Tanuma being able to cross that line and come see him anyway.
Anyway, author’s notes translation ahead!
Volume 25
お疲れ様でした。
この先ネタバルとなりますので最後に読んでいただけるち嬉しいです。
２５巻目となり夏目たちの関係性も変わりつつある中、夏目友人長を描き始めた頃にいつかやってみたいなと思っていたお話もやっと描けるようになってきました。話を思いつきつつも初期の頃の夏目やニャンコ先生でほうまくビジョンが浮かばずやれなかったものが少しづつ描き取れるようになってきました。
反対に初期これがやりたいと思いつつ、今の関係性ではもうそこはクリアしてしまったから描くことは出来なくなったなという話がいくつかあります。簡単には寄り添えなかった頃の夏目でしか表現出来ないような話が使えなくなった事が寂しいような、それもまた良いかと思えるような不思議な気持ちです。そんな描くには時期を外してしまった話も形や方向を変えてちゃんと育てていつかまた見えたらぜひ描いていってみたいと思っています。
Thank you for reading.
Spoilers follow, so please read this last.
With volume 25 and relationships between Natsume and others changing, I’m finally able to draw the stories I wanted to draw when I first began Natsume Yuujinchou. As I think up stories, I’ve been able to gradually write down things that I couldn’t draw in the beginning, when I didn’t have a clear vision for Natsume or Nyanko-Sensei.
On the other hand, there are things I wanted to draw in the beginning but can no longer do because that issue is already settled in the current relationship. To put it simply, it’s sad* that I can no longer use the kind of story that can only be expressed by a Natsume who doesn’t get close to others, but I have a funny feeling it’s also a good thing.** In order to draw that kind of story, I’d like to change the form and direction of the stories for which I missed the time period and develop them properly, and if I see a chance again I’d definitely like to draw one someday.
“Sad” here is sabishii, which is commonly translated as lonely or desolate, but can also refer to the melancholy of something no longer existing. ** Fun fact: she used this same “funny/strange feeling” expression when she said Tanuma was the reason for the “characteristic distance” between him and Natsume.
—
{Note: in addition to the afterword illustrations, Volume 25’s afterword background is illustrated with silhouettes of the Mid-rank yokai on their mission, as well as what appears to be Nishimura, Kitamoto, and Taki. Also the kitty brigade. Also Sensei in a suit for the anniversary bit. Volume 26 is arranged differently and does not have background illustrations. Additionally, the only mini illustration in 26 is this at the very beginning:
}
特別編21
16ページという事で何が入るか悩んだのですが中級達の得体の知れなさも出せるものを描いてみたいなとやってみました。連載が長いので時々、自分にこっそりお題を出して描く事があるのですが（例えば『つきひぐい』の回はモノローグ禁止とか）せっかく小ページの回なので「主人公を描かない」を。けれど描いてみて夏目が出ていないとなんとなく閉鎖的な感じもして、そこが新鮮でもあり反面、異種間の緩衝材的な存在は大事だなと再確認した回でした。
Special 21
I was worried about what I could fit into 16 pages, but I wanted to try to draw something that would display the mysteriousness of the Mid-Rank yokai. As the series is so long, I sometimes draw something where a secret problem for myself appears (for example, in “Tsukihigui” monologues were forbidden). For these rare few pages, it was “the protagonist can’t appear.” But when I started drawing it, it somehow felt closed off without Natsume appearing, and while that was novel on the one hand, it also reaffirmed that some kind of buffer between species was important.
—
第百·百一·百ニ話～ 依代*の眠る里
百回記念日という事で担当さんと話し合って久しぶりに長めのお話を描かせていただけることになり感激でした。いつもなら登場したらすぐ帰ってしまうキャラ達をもう少しじっくり描けるのは本当に嬉しくて。
初期から描いてみたい話だったのでワクワクしつつも、アレと同じ形がいっぱいいたと言う事にジョックを受ける方もいるのではと気を引き締めながら描きました。田沼やタキといる時は自然でいられるようになってきた夏目ですが、祓い屋としての名取や的場といる時は強くあろうとする面があるのか、かえってそういうものが意外に脆さになるのかも知れないなと描いていて感じました。
成長したから出てくる不安定なものも描きとっていけたらなと思っています。
Chapter 100, 101, 102: Village of the Sleeping Vessel
I was moved when, after talking with my editor about commemorating the 100th chapter, I was given a chance to write the first long story in a long time. I was really happy to be able to put a little more care into characters that normally leave as soon as they appear.
At the same time as I was excited to be able to do a story I’ve wanted to draw since the beginning, I was also bracing myself that some people would be shocked by so many of the same shape. Natsume has gotten to the point where he can be natural around Tanuma or Taki, but with exorcists like Natori or Matoba, there’s a side where he tries to be strong, and I felt while drawing like that sort of thing might, all the more, unexpectedly turn fragile.
I think it would be nice if I could keep drawing uncertain** things that appear as a result of growing up.
* “Vessel” here explicitly refers to vessels designed to be occupied by kami, known as yorishiro.
** This “uncertain” is actually the same “unstable” that she used when talking about Natsume and Tanuma’s “unstable worlds,” (aka my blog title) so I was a little startled to see it here! It’s also super-vague, which always makes me Suspicious.
—
特別編22 ８ページという事で悩みました。小ページだからいっそいっぱい描きたいキャラを出そうと言う事でみんなに話を聞いてまわる話にしてみたいなと。パトロールは大事ですよね。
Special 22
I was worried about there being [only] 8 pages. Since there are so few pages, I thought of filling it with characters I wanted to draw, and I wanted to go around talking to everyone. The patrol is very important, isn’t it?
—
Special Anniversary Notes:
こんにちは、緑川です。 夏目友人帳、２５冊目となりました。 何度目であろうと こうして一冊にしていただく度、緊張と嬉しさを噛み締めております。 相変わらず漫画を描く楽しさや難しさと格闘しておりますが面白く読んでいただけるものが描けるよう頑張っていきたいと思っております。どうぞよろしくお願い致します。
Hello, This is Midorikawa. We’ve reached Volume 25 of Natsume Yuujinchou. No matter how many times it happens, whenever I get a new volume like this, I enjoy the tension and happiness. As usual, I’m still grappling with the enjoyment and the difficulty of drawing manga, but I’d like to do my best to be able to draw something that’s fun to read. Thank you very much.
長い間、コミックスでお馴染みだった、 左端の1/4コーナーですが、この巻からなくなっております。 雑誌では広告が入る場所で、ネームの時は展開やシーンのタイミングを見ながらどこへ入れるか悩ましいスペースだったのですが、コミックス化の際にはなかなかお伝えする機会がないご挨拶やお礼を書き込めた思い出深いスペースでした。
The 1/4 space on the left side of the page has been familiar in comics for a long time, but it’s missing from this volume. It’s a space for advertisements in a magazine, but when I’m captioning, I worry about where to place it while looking at development and scene timing. But it was a space full of memories for me, where I was able to writing greetings and acknowledgments I hadn’t really had a chance for when it was turned into a comic.
夏目100回記念
長く続けさせていただき連載100回目を迎えることが出来ました。 本当にありがとうございました。 「依代の眠る里（第一回）」が丁度百回目となり、掲載号ではLaLaの先生方がご協力くださりそれぞれの作品のどこかにこっそりと隠れニャンコ先生を描いてくださいました。とても可愛いニャンコ先生をたくさん描いてただけて、ご協力いただいた先生方や企画を考えてくださった編集部様方や読んでくださってきた読者様方に感謝で胸がいっぱいになりました。大事に致します。
Natsume’s 100th Anniversary
After a long run, the 100th chapter of the series has arrived. Thank you very much. When the exact 100th chapter (Village of the Sleeping Vessel Chapter 1) went to print, the LaLa senseis [mangakas] cooperated to secretly hide Nyanko-sensei in each of their works. I am full of gratitude to those who drew so many super cute Nyanko-senseis, to the editorial staff who planned it, and to the readers. Take care.
お手紙
お手紙とても励みになります。 可愛いイラストを描いてくださったり、素敵なお話をきかせてくださったり、思いを込めて感想を書いてくださったり、とても嬉しく大切に読ませていただいています。 なかなかお返しできませんがまた楽しんでいただけるよう頑張っていきたいと思っています。
Letters
Letters are very encouraging. I’m very happy to carefully read your letters: the cute illustrations, lovely stories, and thoughtful impressions. I can’t really answer them, but I want to do my best to keep appreciating them.
Volume 26
{Note: Volume 26 does not have an overall commentary, just the usual “thanks for reading, please save this for last.” Also both volumes have an acknowledgements section I did not translate. Please spare me.}
第百三·百四話 依代の眠る里
久しぶりに長めのお話を描けて本当に嬉しかったです。読切形式だといつも途中でもう次は何をと頭がいっぱいになりますが、こうしてすぐに締めずに展開できるととてもワクワクして漫画家になりたかった頃の気持ちが思い出されました。短く切ってしまいたくない話も沢山あるのでまた機会がありましたら読んでいただけると幸せです。ずっとやりたかった依代の里のお話でしたが今の心境になれた夏目だから帰れた話でもあるのかなと感じました。同業だからの連帯認識とその時の考えで会う度に変化していく名取と的場の微妙な立場も描き取っていきたいです。絆ある友人を人事ている夏目、祓い屋である事でも力になれるはずだと信じている名取、おおくを知り見る事は出来ている故動く事が出来ない事もある的場、きっと力になれるはずなのに同行できない田沼、秘密を見守る猫達、ニャンコ先生、描きたいものがいっぱい描けて楽しかったです。そしてもっとこの話で描きたかったなと思っている事もあるのでまたしっかり練って描いていきたいです。
Chapters 103, 104: Village of the Sleeping Vessel
I was really happy to write a long story for the first time in a while. With standalone stories, my head is always already full of what I’m going to do next when I’m halfway through, but this time I was really excited to be able to develop the story without immediately bringing it to a close. It reminded me of how I felt when I first became a mangaka. There are many other stories I don’t want to cut short, so if I get another chance I’d be happy for them to be read. I’ve wanted to do the Yorishiro Village story for a long time, but with Natsume’s current state of mind I feel like there are probably other stories I could return to. I also want to keep drawing Natori and Matoba’s delicate position, which changes whenever they meet because of the sense of solidarity as colleagues, and because of their thoughts in the moment. I was happy to be able to draw so many of the things I wanted to draw: Natsume who believes in his close friend[s], Natori who believes he should be able to support [Natsume] even though he’s an exorcist, Matoba who sometimes can’t act because he is able to know and see so much, Tanuma who surely should have been able to support [Natsume] but couldn’t accompany him, the cats who keep a secret, and Nyanko-sensei. Also, sometimes I think about how I wanted to draw this story even more, so I want to keep polishing it up properly.*
* A little confused by present tense here. Maybe she wrote this note while they were still editing between magazine and tankobon?
—
第百五話 クッキーと森の入り口
里から帰った夏目は田沼に色々報告せねばならないのではと思い出来たお話です。ニャンコ先生について、妖絡みで仕事をしている人達について。けれど隣あってみると話すというより一緒に何かやっているうちに気持ちの整理がついていき、夏目なりに田沼への報告が出来たのではと感じました。アニメグッズで担いだ風呂敷に穴が空いていてみかんを落としているニャンコ先生を描いてくださった絵があるのですが、ああいう可愛いお話も描きたいと思っていたのを思い出しました。
Chapter 105 Cookies and The Forest Entrance
This is a story that developed out of the thought that Natsume had a lot he needed to tell Tanuma when he came back from the village. About Nyanko-Sensei, about people who work with yokai issues. But when I saw them side by side, I felt that rather than talking, Natsume would sort out his feelings while they did something together, and that he would be able to report to Tanuma in his own way. There’s an anime merchandise illustration of Nyanko-Sensei dropping satsumas from a hole in the furoshiki slung over his shoulders,* and it reminded me that I wanted to draw a story with something cute like that.
*Good news! I found the merch:
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第百六·百七話 亡き友を訪ねて
依島さんは２０巻目の「とおかんや」といお話で夏目と先生と名取が会いに行った元祓い屋です。２４＋３２ページでは入らないかなとも思ったのですが、ずっと描きたかった話で、依代の里をやった今描いておきたいと入れさせていただきました。依島さんを描く時は時代を少し離れて描けるような気がして楽しいです。夏目と対等の妖力を持つ相手との行動も描けて新鮮でした。そんな力ある先輩が事情があるにしろ辞めて引き篭もっている現状は後輩達には少し複雑なのではと思っています。賑やかな娘達、広いお屋敷、キラキラしていた空間に透けてくる侘しさのようなものに気付いてしまう瞬間の様なものも描いていけたらと思います。
Chapter 106-107 Visiting a Late Friend
Yorishima-san is a former exorcist who Natsume, Sensei, and Natori met in Volume 20, “Ten Days.” I was worried that it wouldn’t fit into 24+32 pages, but I’ve been wanting to draw this story for a long time, and now that the Yorishiro Village arc is done, I got to fit it in. When Yorishima-san appears, I feel like I get to draw something a little out of time, which is fun. It’s also refreshing to be able to draw Natsume doing something with someone who holds the same level of spiritual power. I wonder if it’s not a little complicated for the juniors when that kind of powerful senior goes into seclusion without regard for circumstances. I got caught up with the cheerful daughters, spacious mansion, and sense of refinement that sparkles through the space, and the time spent drawing seemed to pass in a flash. I wish I could have kept going.
