“Nobody thinks that I continue publishing while bleeding. But this is not business. It’s a hobby, a hobby to the end. A hobby is something for my pleasure. So it’s natural that I suffer a loss.”
But who continues bleeding calmly while going into the red, lowering their head and standing weak before the copyright, just because it is a hobby?
Who continues the” hobby” for several decades, saying it’s natural to suffer a loss?
There was a great gap between Mr. Takahashi’s calm attitude and his strenuous act.
But Mr. Takahashi himself did not seem to notice it at all.
It might let people who were apt to see things from a cost-benefit standpoint guess that he would be gaining money after all.
Probably it was something which really fit inside the ” hobby” genre at first. It was fun and interesting, and readers were pleased.
But, I presume that his word “hobby” might have begun to separate from the general meaning through his many years of activity.
Perhaps it has become sharpened as an expression of more positive, more limitative and a more inviolable domain?
Yukio Izumi ”Prince of the sea Tantan”
Mr. Takahashi’s turning point, who had been a manga artist of a fanzine, came with the arrival of offset printing.
The form of fanzines changed from the earliest handwritten fanzine to a copied one, and then, to an offset printing done by a printing office.
When their fanzine became printed by offset printing, not by homemade copy, Mr. Takahashi began to worry about the level of its contents. The offset looked more attractive by far and involved
“But the level of manuscripts was uneven. If we collect membership fees and make a fanzine together, we must print manuscripts of low level too.
But is it okay that we bother to print it in a printing office and have readers buy it? I came to think so. And then, I began to make a fanzine alone.”
At the spread of offset printing,what put Mr.Takahashi in trouble was his inside eyes which overlooked the whole. In addition, it was his feeling that couldn’t be indifferent to the form’s beauty, and that wanted readers not to be depressed with its contents.
It may be called a natural editor temperament, but he had the eyes which distinguished levels, and was consciousness to feel that form requires a matching level of content.
Consequently, Mr. Takahashi started being responsible for editing and came to realize the fun of picking artists with his horizontal connection to compose a fanzine that satisfies his discerning eyes.
“If I edit it with my own effort, I can call an artist that I felt was nice from beyond the group. Besides, I can reward their cooperation with works as a manga artist.”
The works which he thinks good, and the works which readers think good.
In that way, as mentioned before, reprinting of old manga began.
It seems that it was just one of the various ways for filling the pages at first.
But,during many years, probably as he faced increasing difficulty of production, the fanzine and reprinting became closely connected with each other, like two wheels of the car,for