Makoto Yukimura created
Vinland Saga to convey that violence does not lead to positive outcomes. The protagonist, Thorfinn, was designed to evolve from an aggressive teenager into a mature individual, embodying the writer's personal aspirations. One of Yukimura's initial concepts was a story about a slave, inspired by
King Olaf Tryggvason, who regained his throne after being enslaved. However, Yukimura conceived Thorfinn as facing greater hardships than Tryggvason, intending for him to learn about oppression and human suffering. The author later noted that Thorfinn lacked notable skills or an imposing physique, so his main character's distinction came from his experience of human pain. While Thorfinn's appearance evolved across the series' four arcs, Yukimura focused intently on his psychological development. Following editorial feedback, the protagonist was re-envisioned as a
Viking, a change Yukimura accepted as it allowed Thorfinn to later understand the tragedies he caused. Yukimura found it challenging to draw the Slave Arc because of the impact it would have on readers. Yukimura began serializing
Vinland Saga in
Kodansha's
Weekly Shōnen Magazine in April 2005. After a two-month hiatus, the series transferred in late December 2005 to Kodansha's Seinen manga| magazine
Monthly Afternoon, a move prompted by Yukimura's inability to maintain a weekly schedule. For illustrations and fight sequences, Yukimura visualized them mentally before drawing, citing
Battle Angel Alita and its creator
Yukito Kishiro as major influences. He typically worked with three assistants for nearly twelve hours a day, aiming to produce 30-page chapters. Some techniques required 18-hour workdays, and he maintained a pace of one completed page per day, acknowledging that intense competition in the manga industry resulted in high-quality work. Yukimura structured the series into four
story arcs: the War arc, the Slave arc, the Eastern Expedition arc, and the Vinland arc. In November 2019, he announced the manga had entered its final arc, which he expected to span more than 50 chapters and 1,000 pages, taking several years to complete.
Influences Although the manga draws from the
Saga of Erik the Red and the
Saga of the Greenlanders, Yukimura found their length challenging to read in full. His research included a trip to Canada for artistic inspiration. Yukimura's fascination with Vikings began with anime he watched as a child, and he was intrigued by aspects of their culture, such as lenient sentences for crimes committed
while intoxicated. A 2003 research trip to
Scandinavia was complicated by a language barrier, as he spoke no Norwegian and little English. He described the
Oseberg Ship as the most beautiful he had ever seen. Yukimura compared Vikings more to
wokou than to
samurai, noting Vikings were more expressive and free, whereas samurai were quiet and bound by obedience to their master or
honor. He also conducted research in Denmark, Iceland, France, Britain, and Canada, and constructed full-scale models to ensure realism, though this process was time-consuming. While depicting Vikings as heroes, Yukimura also aimed to portray the era's harsh realities. Consequently, Thorfinn was drawn with a serious expression in the first arc and grappled with his sins in the second. To balance the tone, the character Thorkell was made more comical. Editors advised against giving Canute a beard, fearing it would undermine his appeal, but Yukimura insisted on historical accuracy. Conversely, although Thorfinn matured in the second arc, he was depicted clean-shaven to avoid an overtly strong appearance. Yukimura's interest was piqued by the historical Thorfinn, and the scarcity of information about him allowed for creative freedom. He considered the dynamic between Thorfinn and Askeladd well-executed, with Askeladd becoming an ambiguous character due to his multifaceted portrayal. Most characters were written as figures Thorfinn relies on, with Askeladd—his mentor and enemy—as the exception. Parenting emerged as a recurring theme, exemplified by Askeladd guiding the young Thorfinn. The relationship between Einar and Thorfinn was also complex, as they were often unable to help one another, and Yukimura explored the consequences of revenge. The final arc, set in
Vinland, features the
Mi'kmaq people. Their depiction was guided by Beverly Jedore and Yolanda Denny of the educational organization
Miꞌkmaw Kinaꞌmatnewey. Linguist Bernie Francis assisted with the use of the
Miꞌkmaq language, specifically the Francis-Smith orthography used by the
Mi'kmaq Grand Council. These Mi'kmaq characters were inspired by the folktale "Muwinskw" ("The Little Bear"). Yukimura appreciated the tale's theme of coexisting with nature, which contrasted with the tragic fate the historical Thorfinn met in Vinland.
Themes In a 2008 interview, Yukimura stated that reading
Fist of the North Star as a boy inspired him to become a manga artist and to create a series exploring themes of "strength and justice". He expressed that holding
ideals is essential for a prosperous life. Dissatisfied with his handling of themes about love and ways of living in his previous work,
Planetes, Yukimura revisited these ideas in
Vinland Saga. The quest for redemption and pacifism began when Thorfinn realized the damage he had caused as a Viking. This theme developed alongside the supporting character Hild, who wanted to kill Thorfinn for revenge. After writing several chapters involving these two characters, Yukimura was pleased to write about Hild's forgiveness. Following several violent storylines, the narrative shifted toward themes of healing and forgiveness. Upon the series' conclusion, Yukimura stated his goal was to explore whether Thorfinn could become a truly kind person and what it means to mature into a proper adult, defining the goal of growth as becoming a "kind person". ==Media==