Japanese writer-artist Yukichi Yamamatsu was in town to promote his latest work ‘Stupid Guy Goes to India’
He sits quietly in the corner, dressed in a plain shirt and jeans. His hushed presence would belie the decades of experience he has, with over forty years working as a writer and an artist. Yukichi Yamamatsu (64) is the embodiment of the perfect Japanese gentlemen, reposeful but clearly brimming with new ideas.
Yamamatsu, who has been working in the Japanese manga industry since the age of 16, was in town to promote his latest work ‘Stupid Guy Goes to India’. The book, originally published way back in 2008 was borne of his experiences in Delhi whilst trying to get his Japanese manga translated into Hindi, has been translated for the first time by Kumar Sivasubramanian.
Yamamatsu had a lot to say about the Indian comic book scene and his inspirations as a Mangaka. The author speaks little English, and so had to rely on a translator to communicate his views. Much of what he had to say was about communication or the lack of it thereof.
When asked what prompted him to come up with such a self-deprecating title for a largely autobiographical manga, he replied, “I feel that people should look out for humour. I felt after writing the book that the title was apt. It was a testament to my noble idiocy as a writer.”
He believed that other writers should also look for humour and not limit themselves to writing comics that focus exclusively on action and are marketed solely towards children, which he feels is something many Indian comic books tend to do.
“Comics in India are often child oriented and do not tackle serious subjects. They are neither solemn, spooky or slapstick about Indian comics,” says Yamamatsu. “Stupid Guy… is based on my own life and experiences in India. I did so many things during the time I spent here before authoring this book.
But what advice could he give to other aspiring comic book writers and artists who were trying to make a name in this industry.
“When I was a boy in Tottori Prefecture, Japan, my parents like most others, did not like their kids to read manga. So, by the time I turned 16, I was developing my own skills as an artist. Much of my initial work as a mangaka was, like many kids, copying the styles and sometimes even the content of other authors,” said Yamamatsu, “So, any young aspirant should simply focus on developing skills, be it as an author or as an artist. These skills do not have to be developed formally; I didn’t develop them in a school and so I do not feel that it has to be done so.”
Does he feel though that manga, translated in any Indian language, would pose a functional problem of communication? “Not really. As a writer my job is to write. That problem is the publishers and does not require me to rack my brain over it. But I think the problem would arise for terms and ideas that are exclusive to culture. Nevertheless, I feel that the exchange of ideas, through such translated manga, would facilitate the commute of ideas between people of two different cultures,” said Yamamatsu. The chat ended with a gracious thank you, “arigato gozaimasu” I said, to which he quickly replied, “Dhanyavad.”