#i already have so many songs selected for different characters/pairs/scenes/chapters etc

[xiaonesis]

you know that knew joji song? the glimpse of us one? whenever i hear that song all i can think of is poor oikawa trying to see mc for mc but she still looks like his best friend and it's so hard for him

bless his soul he needs a hug and some grief counseling so bad ;-;

https://open.spotify.com/track/6xGruZOHLs39ZbVccQTuPZ?si=06A242daSimVy3jPQHZ3hA&utm_source=copy-link

^here's the spotify link if you don't know the song I'm referring to <3

ooh I actually didn't know this song but I love it!! I actually enjoy music like this on the regular as well haha thank you so much for sending it to me! (I dont have Spotify but YT was there to save the day haha)

But yes, this song does scream Alt!Oikawa and MC/Alt!MC TwT It's so heartbreaking when put against their dynamic and history.

I have added this to the GWS Playlist for further curation haha

[missstormcaller]

BLEACH JET Artbook Talk Vol 2 - Translation (Q16-30)

ABOUT CREATION

Its distinct characters, selection of poetic dialogue and countless array of illustrations are all a grand attraction of "BLEACH". We reveal how they came to be born and close in on the secrets behind the creation process.

Q.16: How do you come up with the Kidō and Zanpakutō incantations?

Kubo: I just do somehow.

—— J: That you're able to just do it somehow, is nothing short of amazing. When it comes to the visual impact and sound, which angle do you prefer to tackle it from? Kubo: I guess both the sound and visual impact at the same time? Speaking of which, I haven't composed a Kidō incantation in a long time. —— J: They exist in a variety of categories, such as the explosive types, the binding types and so on. Where does your vision of their respective techniques come from? Kubo: I'm not at all sure. I wonder where the conception of my ideas originate from. There were certain things which took inspiration from song lyrics for example. —— J: They rhyme pretty good don't they? Kubo: I think I'm seeking to make people start wanting to repeat the words themselves. Or rather, I want people to feel a somewhat good vibe when they say it, like the seven-and-five syllable metre. That, I would say, is the case for given names or the names of  techniques, pretty much everything. Furthermore, I have a feeling there were also things that took inspiration from the likes of mythology, "The Devil's Dictionary" and phraseology that appeared in books of that kind, but I honestly don't remember at all (laughs). —— J: Isn't Hirako supposed to release his Bankai in Narita's novel too? Kubo: Narita put forward a request, asking "may I get Hirako and Hisagi to release their Bankai?" and he followed up with "if it's okay with you, please tell me their names" to which I replied "I will think about it", I finally finished thinking about it just the other day. Though, as a matter of fact, I haven't relayed that information to him yet. —— J: I'm looking forward to it (laughs). Do you associate ideas from the impression of the character? Kubo: I draw out a great number of words by way of considering the abilities of the technique, the original Zanpakutō name and the character's image. After consulting with Narita about the establishment of Hisagi's Bankai, I said "perhaps this will do" and the direction I took became something like "bodies that are tethered together",  consequently I began writing a list of all the words relating to "binding", "rope", "chains" and "prisoner". By establishing a successful link among all of that, it becomes a matter of combining the words and such…. —— J: So then, your process begins with the task of expanding a list of vocabulary first and foremost. Kubo: That's right. —— J: Which character's Bankai name caused you the most struggle to devise? Kubo: This time, Hirako and Hisagi are probably up there in first place (laughs). Hisagi might have taken the most time. —— J: Apart from that, did you contrive ideas from the image of characters like Ichigo and Byakuya? Kubo: I had no troubles at all when it came to that case. Ichigo's Tensa Zangetsu is taken from part of a name of a monster I was thinking about drawing in another manga. —— J: Oh! When did that one-shot happen? Kubo: It's "Rune Master Urara" my debut one-shot for Jump magazine. For a period of time, I was having fun coming up with monsters that could appear in that work, it was a time where I had devised a many number of them, the name of this super strong monster-like enemy with the whole length of its body pitch black was "Tensa Jūzen", that's where I took the "Tensa" part from. —— J: The roots of Tensa originate from there huh. However, Tensa did not appear in "Rune Master Urara" right? Kubo: Yes. Well, it was the configuration of a character that I would draw in the event that the work got serialised beyond this point. The visuals for Dondochakka is also something I had devised around that time. In order to get serialised in jump, I went to around three meetings and, well, failed on all attempts, but in those course of events I produced up to three chapters worth of work and showed it to Asada san who was my editor in those days. I presented Dondochakka's character visuals in several patterns of the second or third chapter which I had submitted, but Asada told me "don't make such a scary-looking guy the ally"…. I thought "you're kidding me, isn't he adorable?" but it was hopeless. Though, since I liked him so much I thought I'd try to use him for "BLEACH" (laughs). —— J: Are there other characters with this kind of case as well? Kubo: I only recalled that through our chat just now. Since I was not able to use the character in the other work, I'd say that's probably just about the only case. Also, with regard to Orihime, she puts her Shun Shun Rikka into operation by way of her hairpins doesn't she? Although this is also a matter from before "BLEACH" was serialised, Orihime's powers were at one point completely different to what they are now, there was one version in which she would sprout horns and a tail. Personally I thought this was cute as well, but I was told by Asada "the heroine can't look like this monster!" (Laughs) I'm relieved it was Shun Shun Rikka in the end though (laughs). —— J: Were any of the monster-like individuals of Hueco Mundo, like the Arrancar and Fracción, also based on rough drafts from around that time? Kubo: In that instance, I believe I just drew them more on the spur of the moment. —— J: Were there any complicated characters that made you feel something like "this character was not all that strong in the past, but since they're getting stronger, I have to start thinking about their Shikai or Bankai!" Kubo: I guess that would probably be Hisagi. I didn't think he would get that strong (laughs). —— J: Characters such as Byakuya give the impression that they were super strong from the very onset after all. Moreover, when you achieve Bankai, the fact is it remains imprinted in the history of Soul Society. Kubo: correct. It goes down in the records. —— J: I'd never have guessed that Hisagi would possess that much strength! Kubo: Hisagi doesn't really seem to be the calibre of some hotshot does he (laughs)? Although, that ill-suited impression about him is Hisagi's likeable side anyway. —— J: That pitiful aspect is the good thing about Hisagi isn't it? I mean, it's like you you just end up poking fun at him. Kubo: That's what I said even when Tōsen left, normally it would be just fine to promote the lieutenant to captain with the change in circumstances, but I thought "Hisagi and Izuru can't possibly be captains could they?", the pair really give the impression that they don't have what it takes. These two shine more as vice captains. That's why I created the forced post of "acting captain" and settled the matter there. Depending on one's viewpoint, Hisagi is kind of a hero-like character who has come to gradually develop as a result of all the various hardships that have befallen him. —— J: He is a hard worker isn't he? Though, even Hisagi would have been outstanding befitting of his talent when he first enlisted. Kubo: It's also neat how that is like the peak of his life. But on account of acquiring Bankai, I can say he has talent!

Q.17: I would love to know Sensei's process when he's thinking up characters! Although it might differ depending on the character, I wonder if 'the face suddenly springs to mind', or 'the outfit floats into your head', or if the 'name appears before you' etc….

Kubo: Since I just manage to draw my characters somehow or the other, it's not so much procedural…. —— J: Does "somehow or the other" mean that maybe you think to yourself "let's draw some guy who appears to give a certain air of strength", or "let's draw some guy who seems the type to deceive others?" Kubo: The idea is already in my head. Rather than thinking about it through the flow of the story, when I envision it, it's as if a substance like milk or mud begins to accumulate, something resembling a humanoid form floats around aimlessly within it, after I pluck it out, its image is gradually made clear, I think that's how it feels? —— J: That's pretty abstract! Kubo: By that point I would have more or less settled on things appearance-wise, with that frame of mind I then either compose it on paper as a rough draft or leave it floating in my head…. Aside from that, if any names come to mind I make a note of it, from among these rough drafts and notes I combine a set of ideas that makes me say "ah, this person will be the one to enter the stage this time", and finally I specify the role. —— J: So then, you compose the names and designs separately? Kubo: Yes, I think I quite often do things separately. —— J: So it's practically like how Ichigo was was searching around for his Zanpakutō through Ōetsu Nimaiya's training? Kubo: If I had to make a comparison using "BLEACH", then I think that analogy is the closest you can get. Generally, when I think to reveal a new character, I already have just the right person in mind. The story as well the characters is something that comes from me, so there is an outline from the very beginning. —— J: A number of unpublished materials have appeared for the first time in this artbook, but basically a large quantity are rough sketches. You would very often draw it and then put it aside for the time being. Does this mean there are hundreds of blueprints for characters dimly occupying a space in the back of your head?

Kubo: That's true, they have been there for some time now. When I put forward new characters, it's almost like taking that vision out of my head and making a clean copy. However, sometimes I don't have time and can't make the appropriate adjustments, so their faces start changing gradually in the manga (laughs). In that sort of sense, I have never been troubled by things such as the storytelling, or scenes that establish new characters. —— J: Are there any characters who, for instance, you had actually planned to put out on the Shinigami side, but ended up being revealed on the Arrancar side instead? Kubo: There is no character whose blueprint has changed to that degree. —— J: On the same subject, which character would you say came to be revealed in the most underdeveloped state and changed at a later stage? Kubo: I think the character who underwent the most change in terms of appearance, is Ulquiorra. When Ulquiorra made his first appearance, he had quite a different face. The personal image of him which existed in my head didn't change during the the creative process, but later when I looked back on my work I thought "his face looks a lot different huh?" —— J: I see. Kubo: In some cases, when an idea for a character appears in my head, their looks, personalities and sometimes even as far their colouring are all decided then and there, as for other characters those things are gradually decided upon. —— J: Do you feel the volume of these characters increased day after day? Kubo: It's not that they were created on a continuous basis, but rather in waves. Sometimes I produce five or six characters in the space of an hour or so, and sometimes it seems I produce none at all for days or even months. Therefore, the characters multiply either when I'm in the zone or when it's absolutely necessary to create them. —— J: From the considerable number of characters that appear in "BLEACH", I'd say the state of 'being in the zone' can't last forever, even if you can yield five characters in an hour. Kubo: And this is after a great number of cuts have been made too. These were unreleased characters that I felt, did not suit the universe of "BLEACH". Then there's the unreleased characters that have the right aura which I am able to present in "BLEACH", but I am not sure which part of the story I should apply them to. —— J: Are they characters which were not even suitable as Shinigami, Arrancar or Quincy? Kubo: I make a rough decision on the location and scene before I start designing them as either Shinigami, Arrancar or Quincy, but then there are some individuals that make me think something like "There's no panels to spare to introduce this guy to story. What role would he have played?" So, perhaps by some chance they will make an appearance if the timing is right when I draw something? —— J: That is certainly a treasure-trove you've been sitting on. Kubo: There's also the characters that make think something like "I wonder why this dude came to mind?" (Laughs) Q.18: The unique names which belong to the characters of "BLEACH" are impressive, but how do you come up with these names? Kubo: Even when I think about character names, I consider the sense of sound. The example I often cite is Hitsugaya Tōshirō, because it needed to give a cool impression, I thought a name that begins with letters either in the "sa column" or "ha column" would be perfect. I feel those sounds come across most smoothly. That reminds me, I believe Hitsugaya had a completely different name belonging to the "sa column" right up until the last minute. —— J: I'm curious about the name which got rejected. Kubo: The fact that I had forgotten about it, likely means it wasn't a good name to begin with. In addition, I consciously try to avoid names from the "ma column" because it doesn't sound cool. —— J: I get the impression that you take a great deal of care in the way you use consonants. Bambietta Basterbine for instance is all B-B-B. Kubo: That's right (laughs). —— J: The types that rhyme are nice as well, like Grimmjow Jaegerjaquez. Kubo: I'm often told that with regard to Grimmjow. —— J: It sounds cool, so it's a name that makes you start wanting to say it out loud.

Q.19: Regarding the characters' theme songs, I wonder how you visualise your characters to determine their songs through a piece of musical composition?

Kubo: When I'm planning and designing a character, a song that's familiar to me could start playing in my head and I think "that works a treat", in some instances when I'm drawing the scene in which the character first appears, a song that's playing in my head could naturally become their theme song.

Q.20: Are there any characters that received new theme songs around the time of the last chapter?

Kubo: Well, I've got nothing off the top my head. —— J: So the vision you decided on at the beginning, remains as unchanged as before? Kubo: Yes, that's true. Even if I had tried to listen around for a theme song once more, the one I chose in the beginning will always be the best suited.

Q.21: Each character has their own theme song, but do they also have their own fragrances to suit their image? I imagine it would be interesting if sensei did a collaboration with a perfume brand….

Kubo: I'm not all that familiar with perfumes, so please feel free to ask a perfume manufacturer instead (laughs).

Q.22: I'm curious to know if there are any characters who who radically transitioned away from your initial conception and setup, both during and before the series.

Kubo: Grimmjow is the one who underwent the biggest transformation. I get the feeling I've mentioned this elsewhere, but Grimmjow was initially set up to die before long, it was my plan to make him exit the stage as the story progressed, however when it came to the crunch I began drawing, and by the time I had finished drawing that week, I had already felt it was a waste to kill him off. I thought "this guy is too good", so when I informed my editor at the time that "I changed my mind, I'm going to abandon the idea to kill him off", he told me "to be honest, I also thought it would be a waste to let him die", this is a conversation I remember quite well. —— J: It certainly seems as if the side to him which is wilfully arrogant and confrontational would mark him out as an easily defeated character, however out of that, components like revenge and fate were affiliated with him and thus he became a great character.

Q.23: I would like for sensei to tell us if he is particular about anything when he's drawing female characters!

Kubo: I, don't think I'm good at drawing females. —— J: There's no way that's true…(laughs)! Kubo: For that reason, I'm not very particular about it. If I had to hazard a guess, I'd say "I hope they look soft" and that's about it. When the series first commenced my lines were rigid, and I should say I was fairly annoyed by that….That's why I want to draw my lines softer for females. —— J: Noel's thighs in "BURN THE WITCH" when she was riding her broom, as well as the straps of her holster biting into her skin, that appeared to be most supreme level of soft (laughs). Kubo: Well, I'm glad to hear that (laughs). As a matter of fact, I even came to like big boobs because I was attempting to draw bodies with a softer look. —— J: So you came to like them while challenging yourself to draw a soft look. Kubo: Originally, around the time I was still a student, I liked small boobs better since they were easier to draw. —— J: That would apply to Rukia too. Kubo: But then I thought to myself "man I really suck at drawing a big bust", so when I was drawing "ZOMBIEPOWDER" I firmly decided that "I want to get good at drawing a big bust", once I had observed a sufficient number of big boobs in the hopes of drawing lots of them, I gradually came to like it. —— J: (laughs) Kubo: I won't be able to draw them better unless I like them after all. Since I grew to like them, I think it became possible to draw voluptuous figures with a more racy look. —— J: That is glorious (laughs). I remember quite clearly, some time ago, it was said that Kawashita​ Mizuki sensei is an artist Kubo sensei considers skilled at drawing. Kubo: That's true, it goes without saying that she is skilled, I am fascinated by those who can draw things which in my opinion I wouldn't be able to draw for myself. I can't do line art like Kawashita sensei.

Q.24: When Kubo sensei paints in his colours, does he use Copic markers? Or a graphics tablet?

Kubo: Copic markers. —— J: What about digital painting? Kubo: I can't do digital at all. In the past, there was a period between "ZOMBIEPOWDER" and the serialisation of "BLEACH", I used to challenge myself when I had the time, however I found that I couldn't draw at all like that. I thought "this is hopeless." —— J: You had tentatively challenged yourself right? But these days there are drawing programs like "Jump PAINT". Kubo: It's an app isn't it? These tools are becoming a lot more user-friendly huh. After all, back in those days there was nothing but the likes of "Photoshop" and "Painter". —— J: Nowadays, fellow manga artists will meet up and draw illustrations with their iPads on the spot. Kubo: They meet up and exchange drawings? —— J: They all jointly contribute by setting themes for each other, then start drawing something with their Apple Pencils, apparently these gatherings are really exciting. Kubo: I recently purchased an Apple Pencil. I tried using it, only to find that I was totally incapable of drawing on it . When Jigoku No Misawa and his wife (Matsubara Makoto) last came to visit, Makoto san tinkered around with the Apple Pencil for a little while even though she couldn't draw, she was telling me "if you play around with this thing here then this will happen, you follow?"…. Then it got to the point where I was able to draw on it (laughs). It appears that I'm just useless with devices. I think it would probably be a lot fun if it reached a point where it's more accessible for me though. —— J: When you're drawing on an iPad, you're drawing on glass, so the sensation of drawing on paper isn't the sensation being transmitted to your hand. Although, it appears that recently they started selling screen protectors which make you feel like you're drawing on paper. Kubo: I would be able to draw with something that feels like an actual pencil, that's insane don't you think!? Well, I'm slowly running out of reasons not to work digitally (laughs). But, the biggest reason is that my eyes tire. That's why I wear glasses that cut off blue light when I play video games. I would have to wear those glasses the whole time when it comes to drawing digitally right? Given that it would end up altering my perception of colours, on second thought, I feel it would be too difficult to work with digital as my main art medium.

Q.25: Please tell us the approximate duration of time it takes to go from rough draft to one page of a manuscript. I also draw manga and illustrations so I'm very interesting to know. I'm looking forward to your response!

Kubo: In my case, my storyboards become my rough drafts as it stands, so it's a question of how I should go about calculating time. If we're speaking with regard to the time it takes for the drawing process, it depends on what's on the page itself after all. And considering the fact that I was getting through fifteen pages a day during the series…. —— J: Is the duration of that time used for inking your sketches? Kubo: Yes. At my slowest I spent 8 hours for fifteen pages. Therefore, it would be roughly 30 minutes for one page. —— J: That's insanely fast (laughs). Kubo: However, midway through the series, I felt it was a detriment to my health, so I asked if I could have the number of my pages decreased. That made things much easier. From there I worked through thirteen pages a day. I would spend a day and a half inking my sketches, but I would always reserve just four pages for the other 'half'. Somehow I manage, or to be more precise it may be down to the fact that I am forced to finish with great momentum if there are four pages remaining. —— J: Do you prefer to compose your pages in a sequential order? Kubo: Yes, I feel more excited about it that way. I too want to get charged up along with the climax of the story in my manga (laughs). If I first start drawing a scene that takes place after the end of the climax, I don't get excited for some reason. As a result, when the distribution of my pages is poor, I'll end up continuing with the scene thinking "this is wearing me out", but then my thoughts become something like "if I can overcome this, I'll be able to draw some great faces!" I did my page distribution chronologically in order enjoy the drawing process. —— J: It's an intuitive method but makes sense nonetheless.

Q.26: What do you do when you're at an impasse with regard to material for the story? In addition, please tell us what you place the greatest importance on when drawing manga.

Kubo: Whilst drawing I'm already thinking about the next chapter, so I don't really find myself at an impasse much when it comes to material. During the series, I would construct my storyboards in accordance with the course of events, then I would start inking and at the same time would have devised the following chapter. —— J: Some illustrations are for coloured title pages, some are almost a kind of continuation of the story, and others are poster illustrations that have no relation to the story at all. How do you decide which one of these to do when you're drawing your storyboards? Kubo: On the occasions I get to create coloured title pages, I bear it in mind when I think "this is the sort of painting style I want to do next", and by the time I get around to making a coloured illustration I feel like I can compose any one of those things. Whenever I didn't have the luxury of time, I would search for painting techniques in a short span of time (laughs). —— J: This Gremmy illustration (JET volume 1, p.277) exudes quite a malevolent atmosphere, but is this the painting style you were attempting to go for? Kubo: I think I wanted to go for a creepy feel, I painted it using a brush and my fingers. —— J: So you start by having some idea of a painting style. Kubo: Well, I think that applies to pretty much everyone (laughs). —— J: By the way, roughly how long does it take for you to think about the composition of each arc in "BLEACH"? Kubo: It's more or less determined at the introduction of the arc. Around halfway through the Arrancar arc, I participated in a stage event at Jump Festa, there I was asked "how much longer will 'BLEACH' continue?" I said "I will draw two more arcs and then it's complete." So, setting aside the length of the story, at that point in time, I would have been deciding the endings five chapters into the arcs. —— J: I see…. So then, I wonder what you place great importance on in terms of drawing manga? Kubo: What comes to mind when asked about an area I place great importance on, or rather, an area I'm 'particular' about, is how to lay down the foreshadowing. I compose the foreshadowing element by dividing it into stages, but since this element in itself is explained in the novelisations through text, I won't talk about the 'stages' here. Nevertheless, I believe the things you discover on the first reading are not foreshadowing to begin with but rather an ice breaker, or to be more precise something like a freebie I give away to readers that says "please anticipate things to come from these depictions in the near future!" After the big reveal you go back to read it again at which point you're able to say "so this was foreshadowed!?" Now that in my opinion, is foreshadowing. There are two reasons for this, one, I like thriller movies, though do you sometimes have predictions that you've made midway through those thrillers, I mean ones that completely hit the mark by the conclusion? —— J: It happens every once in a while. Kubo: I hate that, I think to myself "if it's supposed to be foreshadowing, then keep the reveal hidden properly!" and "surprise me with the reveal why don't you!" (laughs), second, I think a great amusement of the manga or rather the storytelling, is that after enjoying the main story you get to debate with friends that it's "neither this way, nor that." —— J: Indeed it is exciting to exchange differences in interpretation with friends. Kubo: If those debates are the most exciting part, then I hope when people discover new bits of foreshadowing after looking back on works they've grown to love, that they get to experience an indescribable feeling in the moment they made that discovery. I think "BLEACH" could also be one of these much loved works, so I wanted to set it up in a way where each time one would reread the story there would be a new discovery, and then a sense of joy which can only be savoured by those who have reread the story many times over.

Q.27: On the inside cover of volume 27, sensei talked about packaging [of an iPod] and book jackets, but in truth the paperback volumes of "BLEACH" already had a reputation for its exceedingly cool look. Is there an aspect you are particular about in your design and style choices even now? I would like for sensei to comment on attaining strong aesthetic preferences.

Kubo: I like design in itself, so although It's not the case that I'm particularly conscious of it, I'm always picky about it nonetheless. After creating the original format for "BLEACH" paperbacks, I was thinking to use the same one until the very end, therefore you will only find minor changes throughout. So when it came time to publish volume 1, I thought "I want to give it an aesthetic that's different from other comics." This means things like all the front page poems, and drawing the huge volume titles on the front cover. Even though I would buy Jump Comics all the time, I never realised there was volume titles, when I was asked "what would you like to do for the volume title?" by Jump Comics editorial staff, I thought "why doesn't anyone use volume titles in their design?", as a result I decided to use volume titles in my own. —— J: you have a point, it usually only appears in small lettering above the title of the work. Kubo: Exactly. I always think "what a terrible waste." If you don't make use of it design-wise, then contrary to expectations, the presence of the volume title will end up interfering with the cover art won't it? —— J: Even the designers among these questions have reputed "BLEACH" to have an aesthetic that's different from other comics.

Q.28: Within the story of "BLEACH", I believe there was a many number of instances where you depicted members of the cast in a heroic last stand or momentarily on the verge of death, but what are you conscious of within yourself when expressing a character's 'death'? Is there anything you pay extra attention to?

Kubo: It's the timing. It's either something like "this is still not the right place to kill him off" or "it's ideal for this character to be killed off here." It's not a question of luck as far as the characters are concerned, but rather a question of whether or not it goes along with their characteristics. The side that survives is certain to have good fortune after all. I reckon the scene where Ulquiorra fades away also matches his nature. —— J: Is there any character who ended up dead even though you hadn't originally planned to do so? Kubo: Not off the top of my head, I think not. It's the same for the reverse too. Grimmjow is pretty much the only exception. Grimmjow originally lived as long as he did because I didn't come up with his death scene, but I think he would be dead if I had decided as far ahead as that death scene. I would probably be thinking "this way of dying is the coolest!" and because of that, I think I would have killed him off since I want there to be a cool aspect in my depictions. Although my depictions can give the impression that 'this person looks to be on the point of death here', my thinking is "I still want to make this character do so-and-so after this" and I don't let them die. —— J: Izuru was still alive with pipes attached to the hole in his chest after all. Kubo: About that, after thinking "there are gaps in the hole on Izuru's chest, if the moon could be seen through there, that would be super cool!" I really wanted to draw that. When he was revived in a zombie-like state, the staging of the scene where the moon was visible, is to make it appear as if the moon was actually in Izuru's possession. For that alone I put him on the verge of death for a time and then let him survive. —— J: So from a choreography viewpoint, there are times you like to think outside the box for characters that are made to survive. Kubo: Given that I'm fairly passionate about choreography, there's something about it that makes me go like "I want to draw this scene, let's do it!" —— J: By the way on the topic of Izuru, 10 years later is he still alive? Kubo:  I suppose he's ‘alive’. Which reminds me, I didn't draw Izuru 10 years later…. He would be too pitiful if he was dead, so I consider him alive (laughs).

Q.29: Compared to when the series first began 15 years ago, what is the thing that underwent the biggest change?

Kubo: The biggest change in terms of the work, is my art style!

Q.30: I was surprised by the fact that two characters appeared on the final volume cover only. On LINELive, voice actor Morita san said "it is a truly fitting illustration for the last volume", I also thought indeed that is true. That the two individuals from the beginning of the story would bring it to a close, is very typical of "BLEACH" I think. What sort of thoughts did Kubo sensei have after drawing Ichigo and Rukia for the final volume cover?

Kubo: The story originally began with these two, so I thought I should try to end it with these two as well. Since I already knew how many volumes the final stages of the series would end with, I began assigning "this character to appear on the cover with this volume…", I could draw characters who were not able to appear on the front cover for a while, such as Uryū and Renji, but I wondered if I could put Ichigo and Rukia together on the final one. Given that it's been a single person per cover the whole time, I then grew to wonder if it would also exude a special feeling if I put the two individuals on the last cover alone. Those two are the faces that represent "BLEACH" after all. "BLEACH" didn't start with just Ichigo, neither did it start with just Rukia.

Translator’s notes:

“The Devil’s Dictionary” by  Ambrose Bierce

The "ha" and “sa” columns refer to part of the Japanese syllabary table

Quote from BLEACH volume 27 “I bought an iPod the other day. [...] The best part was the packaging, I couldn’t bring myself to throw away the acrylic case my iPod came in even though i have no use for it. I hope someday I could create a bokk jacket so good that no one can throw it away.” Tite Kubo.