Production
Inoue became inspired to make Slam Dunk as he liked basketball since High School. After Inoue started Slam Dunk, he became surprised while receiving letters from readers that they started playing the sport due to the manga. His editor even told him "basketball was a taboo in this world." Due to these letters, Inoue decided he wanted to draw better basketball games in the series. With the series, Inoue wants to demonstrate the feelings from an athlete such as their thoughts when they win, lose or improve at their sport. When he started making Vagabond, he noted that when he was doing Slam Dunk he had a simpler perspective on life as he focused more in victories and success.
With the series, Inoue wants the readers to feel achievements as well as love for the sport. Believing his success as a manga artist being largely due to basketball, Inoue started a Slam Dunk Scholarship for Japanese students as he wanted to give back to the sport by increasing its popularity in Japan. However, when asked about the response from readers to basketball, Inoue commented that although Slam Dunk is technically a basketball manga, its story could have been done with other sports such as soccer. He also added that the artwork for the manga was very typical and mangalike in comparison to his newer works such as Real. His experiences with basketball also influenced the story from Slam Dunk: as a youth Inoue started playing basketball to be popular with the girls, but later became obsessed with the sport in and of itself. This was mirrored in the character of Hanamichi Sakuragi, who starts playing basketball to impress the girl he likes, to later become truly fond of the game.
Read more about this topic: Slam Dunk (manga)
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“It is part of the educator’s responsibility to see equally to two things: First, that the problem grows out of the conditions of the experience being had in the present, and that it is within the range of the capacity of students; and, secondly, that it is such that it arouses in the learner an active quest for information and for production of new ideas. The new facts and new ideas thus obtained become the ground for further experiences in which new problems are presented.”
—John Dewey (1859–1952)
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)