https://fxtwitter.com/Gemi_ningen/status/1975502096226263271
Gemi Ningen : 🐀phase 2 begin
Gemi Ningen : 🐀phase 2 begin
https://fixvx.com/konnakareshi/status/2016076536588468657
Akira Toriyama later said multiple times,
"The design of Cell was honestly a failure."
The reason is simple: drawing it was pure hell, no matter what.
The countless black spots on Cell's body.
Those weren't screentones or solid blacks—they were hand-drawn one by one.
And when Cell reaches his Perfect Form, he shows up in close-ups almost every week.
In other words, every time you turned the page,
you had to keep drawing hundreds of those same spots over and over.
Toriyama himself reflected,
"The moment I designed it, I thought, 'This is cool.'"
"But once I started drawing it, I thought, 'I've really done it now.'"
Even with all the assistants pitching in,
they still couldn't keep up,
and so the atmosphere in the editorial office was that "Cell chapters = total chaos" was just the norm.
And ironically,
those very spots are what defined
"Cell's essence,"
"his creepiness,"
"his high level of polish."
That's why Toriyama said clearly in his later years,
"I'll never do a design like that again."
In fact, the Majin Buu who appears after that has a design that's
・a single solid color
・no patterns
・minimal lines
A "full focus on ease of drawing" approach.
This was completely a reaction to the lessons learned from Cell.
In other words, Cell was
the ultimate enemy character for readers,
but the most grueling nightmare for the creator.
Even so, because he didn't cut corners
and drew every single one of those spots week after week,
he's still talked about today as "the highly polished final boss."
Once you hear this story,
the way you look at Cell changes a bit, doesn't it?
Akira Toriyama later said multiple times,
"The design of Cell was honestly a failure."
The reason is simple: drawing it was pure hell, no matter what.
The countless black spots on Cell's body.
Those weren't screentones or solid blacks—they were hand-drawn one by one.
And when Cell reaches his Perfect Form, he shows up in close-ups almost every week.
In other words, every time you turned the page,
you had to keep drawing hundreds of those same spots over and over.
Toriyama himself reflected,
"The moment I designed it, I thought, 'This is cool.'"
"But once I started drawing it, I thought, 'I've really done it now.'"
Even with all the assistants pitching in,
they still couldn't keep up,
and so the atmosphere in the editorial office was that "Cell chapters = total chaos" was just the norm.
And ironically,
those very spots are what defined
"Cell's essence,"
"his creepiness,"
"his high level of polish."
That's why Toriyama said clearly in his later years,
"I'll never do a design like that again."
In fact, the Majin Buu who appears after that has a design that's
・a single solid color
・no patterns
・minimal lines
A "full focus on ease of drawing" approach.
This was completely a reaction to the lessons learned from Cell.
In other words, Cell was
the ultimate enemy character for readers,
but the most grueling nightmare for the creator.
Even so, because he didn't cut corners
and drew every single one of those spots week after week,
he's still talked about today as "the highly polished final boss."
Once you hear this story,
the way you look at Cell changes a bit, doesn't it?
vxTwitter / fixvx
こんな彼氏が好き＋人生観、恋愛観 (@konnakareshi)
鳥山明さんは後になって、
「セルのデザインは正直、失敗だった」
と何度も語っています。
理由はシンプルで、とにかく描くのが地獄だったからです。
セルの体にある無数の黒い斑点。
あれはトーンでもベタでもなく、一つ一つ手描き。
しかもセルは完全体になると、ほぼ毎週のようにアップで登場する。
つまり、ページをめくるたびに、
同じ斑点を何百個も描き続ける作業が発生しました。
鳥山明さん自身、
「デザインした瞬間は“かっこいい”と思った」
「でも描き始めてから、これはやってしまったと思った」
と振り返っています。…
「セルのデザインは正直、失敗だった」
と何度も語っています。
理由はシンプルで、とにかく描くのが地獄だったからです。
セルの体にある無数の黒い斑点。
あれはトーンでもベタでもなく、一つ一つ手描き。
しかもセルは完全体になると、ほぼ毎週のようにアップで登場する。
つまり、ページをめくるたびに、
同じ斑点を何百個も描き続ける作業が発生しました。
鳥山明さん自身、
「デザインした瞬間は“かっこいい”と思った」
「でも描き始めてから、これはやってしまったと思った」
と振り返っています。…