Interviews

This page will show the translations of interviews from ONE and Murata.

Weekly Shonen Jump Interview
Weekly Shonen Jump (WSJ): Since One-Punch Man was already a successful Webcomic, how did the collaboration with Murata Sensei come about? And was it strange seeing your work drawn by someone else?

ONE: Murata Sensei just happened to find my website and became interested in One-Punch Man. I had always been a fan of his, so I jumped at the opportunity to work with him. I get really excited seeing my work transformed into something with so much passion and amazing art.

WSJ: What inspired you to draw a bald average looking superhero like Saitama?

ONE: The world is full of cool looking heroes, so I didn't think that was something I wanted to write about. Plus, I believe that heroes coolness comes from their spirit and not their looks. I don't think how a hero looks is that important.

WSJ: Which would you rather be doing: saving a cleft chinned brat from a rampaging crab monster or getting great bargains?

ONE: If it's possible to save the kid, I'd rather do that.

WSJ:In the U.S., webcomics are already quite popular. How are webcomics received in Japan?

ONE: It used to be a small thing that was enjoyed by amateur creators and fans and was seen as just a hobby. But now even casual fans are starting to read webcomics. I think it's thanks to Murata Sensei.

WSJ: What are the advantages and disadvantages of drawing webcomics as opposed to traditional print manga?

One: I think a major advantage is that you can quickly upload fixes if needed. Being able to do this as often as necessary even after something has made it to the public isn't possible with a print version. I can't think of any disadvantages. Lately, I'm not even feeling that there are fewer readers than Print.

WSJ: How do you think the success of One-Punch Man will set a precedent for other Webcomics?

ONE: There are more and more examples of popular webcomics, so I think that trend will continue.

WSJ: In addition to One-Punch Man you also have to other web comics, Makai no Ossan (Old Man of the Demon World) at Tonari No Young Jump and Mob Psycho 100 at UraSunday. Can you briefly talk about these works and also let us know if you have any other projects going on?

ONE: One-Punch Man is something I originally started just to entertain myself. So, I just do whatever the heck I want with the characters. With Makai no Ossan, I create it while thinking about how the daily readers are reacting to the story. I put in tons of characters so that fans would have more to look forward to. In contrast to One-Punch Man, the main guy in Mob Psycho 100 is emotionally weak and delicate. So the side characters act as a support for him. The series are kind of opposite, but they are both extremes, making them easier to create. Regarding my schedule, I've been given some amount of flexibility, so it isn't that difficult.

WSJ: What advice would you give webcomic artists?

ONE: I'm in no position to advise other people, I would recommend creating a website that is easy to navigate.

WSJ: Any last messages for your international fans?

ONE: I'm so happy that an international audience is reading ONe Punch Man! I get really excited when I receive comments from fans in foreign languages. The series is just going to get more exciting, so please, stick with it until the end. Thank you so much!

Niconico Interview
ONE: Sonic with weapon would've defeated Sea King pre-rain form.

ONE: Sonic's last appearance was just a joke on the popularity poll (means he'll show up again)

ONE: Genos's and Sonic's fight would end in a tie.

ONE: While the most popular one in their world is Sweet Mask, King is rather high up as well.

ONE: Pri Pri Prisoner could've defeated the Giant Bird that crashed into King's home.

ONE: The origin of Boros's name is from a game ONE played.

ONE: Genos is rather powerful even among the s-class heroes.

ONE: The situation against the monster association would've changed, if Metal Bat was around. Metal bat wasn't joking when he said "He could take care of a dragon level threat".

ONE: King's height is 187cm

ONE: Tatsumaki in her best shape could've defeated Golden Sperm. Golden Sperm is equally strong as ossan (main protagonist from makai no ossan). Tatsumaki > Normal Mob, if he gets serious, there's no answer.

ONE: Zombieman needs 15min to recover a cut off arm. He'll die if you reduce him to mince meat. There's the rumor that he's the weakest amongst s-class heroes, but it hasn't been confirmed. It would be difficult for him to defeat sea king

Anime Behind The Scenes Interview
WSJ: What is appealing in One-Punch Man?

Shingo: It's a hero manga about Saitama who has extraordinary strength... and can bring down a villain in one punch. It's a wild premise for a story. But aside from the setting, which is interesting in itself, the characters that appear are fun like the S-Class heroes, Genos, and Speed-o'-Sound Sonic. The world view widens as the different characters appear and makes each episode more interesting. Our goal with the television anime is to stay true to the original manga and make it even more interesting. I hope that's the appeal of One-Punch Man.

WSJ: Special attention to the action

Shingo: This time, we've gone digital it not drawn on paper, but on computer we're coordinating the drawing with the camera work. We'll be able to reproduce the actions with more accuracy and speed. This is the one thing we're targeting for this series.

WSJ: What to watch for in Episode 1

Shingo: I think it would be Saitama. We go in depth with his character in the anime. What drives him to use his power. What kind of hero he aspires to be. we've created his character with great detail so I'd like the audience to watch.

WSJ: About the opening

Shingo: JAM project's theme is full rock. So we want to match the visuals to rock just as much and we've put a lot of energy into it. And we also incorporated BLS shading where shadow areas are filled in with black ink. That kind of gives an American comic look. So hopefully, it's received as a cool, superhero opening.

WSJ: About the staff

Shingo: Tomohiro Suzuki is doing the script and the series composition. The author of the original manga, ONE, as well as Murata-Sensei sat in our production meetings. They shared their views from a manga standpoint and we shared ours and reworked the series composition as well as what volumes featured. They gave us a lot of input and their participation was very helpful. Chikashi Kubota is doing the character designs. He's done a great job of reproducing Murata-sensei's drawings down to his little idiosyncracies. He has stayed true to the characters in the manga and painstakingly transformed them for anime. He's a top class animator and designer. So we've got someone very sensitive to art working on the character designs for the series. I feel very blessed that we have such a great staff. We were able to get top people in every department. As a director, you can't ask for anything more. It makes my job easy to rely on them. I mean, people like Satoshi Hashimoto, our color designer. His color choices and distribution are so pleasing to the eyes. We have a lot of evening scenes in the series he paid so much attention to the color subtleties. That made it visually comfortable. It's attention to detail... the smallest detail. It's great to have staff that care about these things. And the last step is photography. Putting everything together with the composites. We have Akane Fushuhira on top of that and she has such a great feeling for this work. She's very young but very talented. Anime can become very routine. Mostly, it's diffusion, and there are those who think that alone will suffice. Not with her. She'll look at the raws and bring out the best of them. She finds the challenge in that process. So from that standpoint, I think we have an interesting great series. And for the music, we have Makoto Miyazaki. We were luck to get him. There are many places where the music enhances the scene.

WSJ: Director's message

Shingo: The television anime, One Punch Man will be premiering in Japan and it will be simulcast around the world. I'm hoping we can all view it together. The staff and I are doing our best to create a great anime. I believe it doesn't betray the original manga. So please watch and enjoy the series.

Furukawa/Ishikawa Interview
──To start off, what do you think about One-Punch Man?

Makoto Furukawa: Seeing someone defeat enemies with one punch is fun in a simple way, so overall it’s quite exhilarating. While it’d be misleading to say it doesn’t require any thought to read, I really think as a piece of entertainment it’s a series which anyone can enjoy.

Kaito Ishikawa: At first I only knew the title, and had no clue what the actual story was about. Then when I got the audition I finally read it for the first time. Like Furukawa-san said, the thrill you get after reading it is something else. While Saitama might not like how his fights end after just one punch, for the reader it certainly feels nice. I think it’s a tremendous series because it has a good tempo so you can flip right through it, yet at the same time it gets you hyped up.

──How did it feel to get the role?

Furukawa: I was like “Am I really the right choice…?” (laughs) When my manager told me I had got the part, I simply couldn’t process it and had to have him tell me again. During the audition I actually hadn’t thought too hard about the part. Maybe Saitama didn’t have anything for me to latch on to, or I just couldn’t imagine what sort of voice would come out of that face of his. As a result, I didn’t prepare for the role and just tried to perform naturally, as myself I suppose. I’m glad that approach went over well.

Ishikawa: I auditioned for both Saitama and Genos. Before auditioning for Genos, the staff asked if I’d be interested in giving Saitama a shot as well. Genos has a much more starkly defined character compared to Saitama, so I auditioned for him while deciding what direction I wanted to take the character. But with Saitama, I couldn’t get a handle on his character at all, and couldn’t work out an approach. Even while performing I just couldn’t get into it, nothing clicked, and I suddenly thought that Saitama was still beyond my capabilities. And so since I couldn’t figure out what sort of voice Saitama should have, I couldn’t figure out one for Genos either. For characters that hang out with the lead, I think their voices need to be compatible. As long as I couldn’t imagine the lead character’s voice, I likewise couldn’t imagine Genos’ voice. So after auditioning for Saitama, I was stuck not knowing what to do with Genos either. Then a short while later I received word from my manager that I had gotten the role of Genos. Obviously I was happy to have gotten the part, but my very first thought was to wonder who had been cast as Saitama. Then when I heard it was Furukawa-san, I was able to relax a little. He and I had worked together before, so that perked me up.

──How do you feel about the characters you play? What do you keep in mind while performing as them?

Furukawa: Saitama has both a serious face and a goofy face, and I was very careful to modulate my voice in order to perform each one distinctly. During the recordings, the director Natsume asked me not to make him seem strong whenever he’s got his ordinary, goofy face on. Saitama’s strength is only visible once he gets down to business; otherwise he just defeats monsters like it was nothing. That’s what the director said. So I adapted my performance to fit that, but it required a lot of thought. For instance, if it’s a scene where I’m hitting someone, my first instinct is to put some energy into my performance. But then the sound director will tell me I’m exerting myself too much. Dialing back the energy to just the right amount is really tricky.

Ishikawa: At first I thought Genos was a cool-headed, crafty character, but actually he’s pretty hot-headed. Case in point, when he first appears he acts like you’d expect a cyborg would, but then later once he’s met Saitama…Well, I want you to watch and see for yourself what happens, but suffice to say I was quite surprised at the difference, which made it fun to perform. The director, Natsume, didn’t really tell me anything in advance about how to perform the role. Of course, I’ve had detailed direction on how to perform specific scenes, but I never received any general introduction as to what type of character Genos was. So I was a bit scared (laughs). At any rate, I threw myself into the part thinking that I’d give it all that I was capable of.

──Now that the recording sessions have started, what are your impressions on director Shingo Natsume?

Furukawa: Normally he seems soft and cuddly, but in the recording studio he looks strict, and you can always tell the zeal he has towards the series. That passion also comes across when he directs performances, and I go into the recording sessions thinking how I want to respond to his passion!

Ishikawa: He reminds me a lot of Saitama. The look in his eyes is completely different in the recording studio than it is the rest of the time. He seems like a true professional. But once you get away from the studio, his demeanor softens and he lightens up, and if I goof off he just plays along (laughs). I think you’ll be able to tell this from the second One-Punch Man special that’ll be broadcast on Nico-Nico Live on September 20th, so look forward to that!

──They’ve certainly lined up a star-studded cast to play the other heroes and monsters…

Ishikawa: I think it’ll have a bigger impact if you watch without knowing who’s playing who. Especially with the enemy characters, it’s way more fun not knowing in advance.

Furukawa: People are in for a shock right from the opening of episode 1! You’ll never believe who they’ve got playing a certain character! I can’t wait for people to see the series.

──Besides your own characters, what other heroes and monsters should people keep an eye out for?

Ishikawa: Mumen Rider. I’m a big fan of a certain hero who (Yuichi) Nakamura plays, one with a strong sense of justice. I won’t say the name of the franchise, just that it’s an American hero who carries a shield (laughs). I love that hero, so Nakamura’s Mumen Rider stands out. I really admire him as a voice artist.

Furukawa: I really like Zombie Man. Sakurai-san is fantastic in the role! I think you can tell from the drama CD packaged with the 9th comic volume, released August 4th. He’s got some great lines, so definitely give it a listen.

Ishikawa: His self-introduction is particularly good. It really put the rest of our self-introductions to shame. He just introduces himself by casually saying his name, but it’s so direct and concise.

Furukawa: He really fleshed out the character of Zombie Man after that, so now I can’t take my eyes off him.

──How did it feel to see images of the characters moving? What’s the finished product like?

Furukawa: At the very least it’s an entertaining series with cool action scenes. They were put together with great skills; it’s very inspiring.

Ishikawa: With heroes, the action scenes are very important: not just the characters, but the scenes of buildings being destroyed and explosions all back a real wallop. When I finally saw it with the sound effects added in, I knew what sort of sounds were in each part, and I figured that we’d have to change our performances to go along with it. I felt tense because I knew we needed to make our performances more precise in order to match up with the characters’ movements. I want to go into the next batch of recording sessions with renewed vigor, in order to not be outdone by realistic films.

──What lines were particularly memorable?

Furukawa: Right at the start of the first episode there’s this line where I say “shall I go?”, and the truth is I had to redo that line an insane number of times. Am I going to show off my strength or not? I wasn’t sure which way to play it. With a giant monster rampaging through town, how would Saitama respond? That’s why I think it’s no exaggeration to say that that line encapsulates everything about Saitama.

Ishikawa: This was part of the preview too, but one line that left an impression was “But that would mean sensei went bald at a young age…” I consider that an important line for cementing Genos’ character, when he’s come to seek training from Saitama. At a time like that he goes out of his way to point out that Saitama’s bald, and it seems to genuinely bug him. I think it changed Genos’ position within the series, and I remember performing it really carefully.

──What are the highlights of the series? What makes it worth seeing?

Furukawa: Everyone should cheer up whenever Saitama lets loose with a punch. Just imagine the monsters as people you don’t like, and pow! (laughs) I think that feeling of exhilaration is one of the highlights.

Ishikawa: This series is really entertaining. While it’s not set in the real world, and is full of impossible events, I hope people will get caught up in the fun. Despite not being set in the real world, it’s as if the characters of One-Punch Man are all truly living, breathing people in a world of their own, saying their lines like they really mean it. And I hope that degree of seriousness will make people laugh.

──You two have worked together on a number of different series. What do you think of each other?

Furukawa: At first I thought Ishikawa-san was an extremely serious person…

Ishikawa: Are you trying to say that I’m really not?

Furukawa: Ishikawa-san seems to be good at all sorts of things, so I thought he was amazing. He’d see things I couldn’t, and casually point them out to me, so I was very grateful to have him around.

Ishikawa: I’ve always thought he’s incredibly serious-minded. I guess you could say he’s firmly grounded; he seems to me the same now as when I first met him. That was two or three years ago, but this is the first series where Furukawa-san has played the lead role. He’s a good guy; he brought the original manga over to the studio and taught me a lot about it, which helped me relax. We’ve performed on the radio together, and he takes his work seriously, working out plot structures and coming up with material in brainstorming sessions.

──To ask something a bit personal, looking at yourself objectively, what sort of person are you? Analyze yourself.

Furukawa: I’m a bit stubborn in some ways. And I can be a bit scatterbrained too. Recently my manager told me to come to the study at 11, but I went at 10 instead and there was nobody else there yet. Fortunately this didn’t cause anyone else any trouble (laughs).

Ishikawa: I think I’m a hard worker (the surrounding staff members all laugh). OK, I lied; no need to laugh so much…I actually think I’m rather frivolous. Even being interviewed like this, I hate just talking about serious stuff, and want to clown around and get laughs. But I love myself, even those parts of myself (laughs).

──What have you been into lately?

Furukawa: I’ve been going on a tour of temples, shrines, and other power spots. It seems that temples and shrines each have different “attributes”. So I go to temples and shrines whose attributes are compatible with my own, based on my birthday and blood type, and make wishes, draw fortune strips, etc. There’s a really compatible temple near my house, and sometimes when I go there and pray for a job, I’ll get a job right away!

Ishikawa: Lately I’ve been seeing how far I can go on an empty stomach. I suddenly started to wonder just how hungry I could possibly get, so I tried eating only one meal a day, or telling myself I wasn’t hungry even when I was; doing things like that to test the limits of my hunger.

Furukawa: What, are you trying to achieve enlightenment or something?

Ishikawa: Most of the time I’ll cave halfway through. Like, go eat an onigiri at the convenience store on my way home from work or something…But now I’m trying to see how little I can eat in a meal and still feel sated.

──What are your goals as a voice artist? What sort of voice artist do you aim to become?

Furukawa: I want to become a voice artist who can make someone’s heart tremble. It’d be great to be able to inspire someone not only through my performance in a series, but even just through what I say in an interview like this, or in an onstage panel. That’s the sort of voice artist I want to be.

Ishikawa: I want to do plays. They’re really difficult, so I want to confirm for myself that I’m moving forward, that I’ve become able to do them. I don’t know how long it will take, but that’s my goal.

──Finally, say something for all the viewers looking forward to the broadcast.

Furukawa: There’s finally less than a month to go until it starts airing. As I’ve been saying, it’ll be really entertaining. Just hang on a little while longer, and we can enjoy it together!

Ishikawa: The staff and cast all put their heart and soul into making this series, so I think their enthusiasm will come across to everyone onscreen. Look forward to it. It won’t disappoint.

The author of One-Punch Man discusses the appeal of web comics
――Congratulations on your debut in a commercial publication. Your web comic One-Punch Man was what led to your professional debut. Tell us about that process.

ONE: I had stopped updating One-Punch Man in February of 2010 due to getting a job, but then in spring 2011 I announced on Twitter that I had quit my job, and from there I was contacted by various people, which is what led to where I am now. Thanks to all of One-Punch Man’s readers, this web comic enabled me to go pro.

――I think that web comics are one option for getting your foot in the door professionally, as was the case with you. What are your thoughts on the possibilities of web comics in that regard?

ONE: I think it’s another effective option, besides the traditional way of going pro after winning a manga award. Series like Hetalia: Axis Powers or Hori-san to Miyamura-kun that were ranked high on the WCR (Web Comic Ranking) received print releases, and Diary of a Chinese Wife got one too after getting popular on the web. Apparently some manga editors check out web comics that have made a splash, and I think they probably look at sites like WCR or Neetsha. Those two sites have rankings, which makes it easy to judge what’s popular.

――What do you suppose is appealing about web comics, as pieces of work?

ONE: For readers, the fact that you can read them for free is huge. Also, since some web comic artists use Twitter and other such communication tools, thanks to the internet they feel very accessible; I suppose that’s another key point for some people. For creators, the appeal lies in the lack of restrictions: you can draw manga that you wouldn’t be able to draw in a commercial publication. There’s nobody to stop you, so you’re free. This all ties into what I guess you could call a sense of crudeness and lack of polish, an amateurishness which for some reason gives web comics a unique charm.

Encountering web comics for the first time
――What led you to begin drawing a web comic? How long have you wanted to be a manga artist?

ONE: I had decided I wanted to be a gag manga artist from the time I was in grade school. I was a fan of Crayon Shin-chan, and at the time I wanted to draw that sort of manga. For me it wasn’t a case of simply trying to be a manga artist and testing the waters to see if it was worth a shot. Rather, my thought process was to decide right off the bat that I was going to be one, so the rest was just a matter of effort. I guess that’s how I decided my whole future while still just a kid.

――What kind of student where you?

ONE: Well, I liked to draw manga, obviously. In middle school and high school I enjoyed using my notebook paper to draw manga full of funny lines of dialogue and character interactions, rather than cool faces or cute girls or anything like that. I guess what I found interesting about it was being able to turn my own wild ideas into pictures and create stories.

――What sort of response did you get from friends when they saw your manga?

ONE: I kept drawing manga from grade school onward, but never told anyone else about it, not even once. In grade school everyone else was into soccer or whatever video games were popular at the time, so I guess I was afraid of looking uncool if I drew manga. From middle school to college, I’d have friends who read manga, but didn’t know anybody who drew manga themselves, so I felt embarrassed about it. In the end, I went my entire student life without showing my manga to anyone or even telling people that I drew manga. But then, my parents got angry at me a few times when they found out I had drawn a gag manga called Middle-Aged-Man Man in my notebooks. In fact, I filled up about 50 notebooks just with manga. But what hurt the most wasn’t getting chewed out for goofing off. Rather, it was having something I loved to do be rejected.

Afterwards, I decided that instead of getting made fun of or rejected and losing my motivation, it was better to just not show anybody, and so I kept on drawing manga all by myself. Although having said that, it also felt really fun to store up so much “forbidden fruit” inside my notebooks. Back then I only drew manga about my crazy ideas, and never copied anything from real life. I think if I had drawn things from life back then, I’d probably be a lot better at drawing today…

Even in college things didn’t really change; the manga clubs and whatnot just didn’t feel right, so I didn’t enter them. And then I thought maybe there were other people out there in the same boat I was, so since I didn’t have a laptop at the time, I went searching for “aspiring manga artists” on mobile phone sites. This was what led me to encounter web comics for the first time.

The secret behind the birth of One-Punch Man
――What sort of sites did you visit searching for “aspiring manga artists”?

ONE: People who were like me at the time, aspiring manga artists in their teens who didn’t own laptops, would post their illustrations up on these mobile phone sites. Back then there were thousands of sites like that, and seeing them all I was seized with the desire to have people view my pictures, so I made a site of my own.

At first I didn’t put up manga, just funny pictures. For instance, even if I drew a person, the back of their head would be really long, or they’d have a really wide forehead, or an unbelievably huge cleft chin (laughs). While I was drawing stuff like that, my site’s visitors increased to about a hundred. At the time there were lots of people imitating popular manga, trying to make pictures that were likely to sell, so I guess because of that I stood out from the pack.

As I got more readers, I figured that it was about time I show them a manga, but camera phones weren’t as advanced back then as they are now, so the images were too small to read any of the lines. While I was looking around for a good solution, an aspiring manga artist friend of mine who had put his manga up on mobile phone sites told me that all I had to do was put the pictures and lines on pieces of paper about the size of your palm and photograph them close up.

――And from that was born a series called Sun Man (currently unavailable). That was the first time you showed your own manga to others. How did it feel?

ONE: It felt great to finally fulfill my dream of showing my manga to others. Before then some of my pictures had included panels with stick figures, but after I started posting manga up on my site I stopped doing that. I kept on posting manga to my mobile phone site for a little while after that, but I realized that I was never going to get good at manga if I just kept on drawing ones that were the size of the palm of your hand, so I stopped. Later that same friend who had told me how to draw manga for mobile phone sites started making manga with his laptop. Web comics are really easy to read up on a big PC screen, and I thought it was just perfect. And so, One-Punch Man became the first web comic I made on the PC.

Overcoming days of conflict to make his professional debut
――At the time of its debut in July 2009, One-Punch Man was hosted on Neetsha, a site for posting manga and novels. These days it’s up on your own personal site and gets about 20,000 visitors a day. When did it start gaining in popularity?

ONE: Roughly from Chapter 5, which went up about a week after Chapter 1. At the time, Neetsha’s yardstick for determining a popular series was if it got 30 or so comments with each update, but I just kept getting more and more comments, so that by the time Chapter 30 went up in October I was getting about a thousand comments per update. This was in large part due to other web comic artists like Oshan Manabu creator Takusu Totsuka-san or Kendo creator PD-san both showcasing One-Punch Man on their blogs, and also thanks to it being featured on blogs covering 2chan threads and whatnot.

――What did you think of the constantly growing response?

ONE: The truth is that One-Punch Man was originally simply a way for me to practice using a manga-creating software called “Comics Studio”, and I uploaded it intending for it to be only a single chapter long. But I was happy to see it get a bigger response than I had anticipated, so I quickly drew up Chapter 2. And then lots of comments came in saying “put up the next chapter soon!” So I figured I would draw this thing properly, and came up with the plot all the way up to the final chapter, which I’m still following even now. Though I hadn’t expected that initial response, afterwards I’d draw certain parts specifically to get a reaction from readers, and it felt great to get lots of “LOL”-type comments.

Once lots of people were reading it, I’d get offers to have it showcased in a Recruit web comic anthology and things like that, and I even learned that manga professionals were aware of it; I could really feel the series expanding.

――But then in February 2010, just as One-Punch Man’s popularity was on the rise, you announced that you were putting it on long-term hold. You said this was because you had gotten a job…

ONE: Due to family matters, I decided to get a job for a year. But my plan was to not goof around and just save up as much money as I possibly could, then quit. That way, the year after that I wouldn’t have to bother with even a part-time job, and could focus on drawing manga full-time. I intended to spend 365 days doing nothing but manga, and if that didn’t lead anywhere, I’d give it up.

――I imagine you faced some very difficult struggles during this period.

ONE: Not being able to draw manga was hell. During that year I tried as much as necessary not to think about manga. On the flip-side, I also sometimes thought that I might calm down once a year had gone by. Even though work was tough, my boss was nice, and I wondered if I really needed to take the risky path of giving up my job.

But thinking it over, in the end it had to be manga. My schedule didn’t even allow me to draw manga on my days off, so I passed each day with no time to express all the story ideas that popped into my head. I decided to give it a real shot, rather than just gloomily go on working my whole life, and so I quit my job.

――Which brings us back to the start of the interview. Due to your high profile, you ended up being contacted by a publisher. Will you continue to update the One-Punch Man web comic even after your professional debut?

ONE: I’ll keep on drawing it. The web comic is something I do as a hobby, and messing around with my home page is always fun. But above all else, there’s plenty of readers who look forward to updates. I’m very grateful for that.

――Finally, I’d like to ask you what web comics mean to you.

ONE: I think they’re the best place for saving people unable to show their manga to anyone, as was the case with me. You can draw a web comic even if you’re not that great, challenge yourself, and if it doesn’t work out you’re free to quit anytime at your own discretion. Also, in my case it enabled me to meet up with ambitious friends aiming to go pro. I encourage anyone in the same situation I was back then to try out drawing a web comic.