Author: izumi
Cover source: "Blow! Bass number 2 on "
is adapted from the new October series "Blowing" by Ayano Takeda's novel! The second season of "Battery" is approaching the end. The Japanese information website Natalie's channel interviewed the animation supervisor of this work Ishihara Takiya and the original work Takeda Ayano. While reviewing the small episodes of previous broadcast content, they also made a prediction on the subsequent plot.
Ishihara Takiya
animation supervisor and performer. Kyoto animation belongs to. The supervisor's representative work is "Do you have to fall in love even if you have a second disease! (Second second disease!)", " Unlimited Monster Spirit World ", etc.
Takeda Ayano
1992 was born in Kyoto Prefecture, Japan. In 2013, he breathed with you. 》 won the 8th Japanese Love Story Awards recommended work (work of Yuyu) and debuted. Later, I was given the second work "Room!" On the bass number ~Welcome to join the animation of Kitau Uji High School Spin Band~》 has caused a topic. There is also "Room!" Bass Series ~Welcome to Lihua High School Arts Band~Previous, Next, and "Round! Works such as "Battle" - Kitau Uji High School Spin Band Log~" were published. The latest one is "Ishiguro Haru".
The two came up to talk about their impressions of each other. Ishihara first pointed out bluntly that the first impression after reading the original work was that the animation of the music theme was not worry-free. But the work is still very youthful in terms of content, and the novel not only writes the refreshing and lively side of high school students, but also involves the dark side of interpersonal communication, which makes Ishihara feel quite interesting.
The topic of high school life triggered the supervisor's recollection of past years, reminding him of his animation in high school. During the summer vacation, Ishihara slipped into the school classroom to make animations. At night, it was so hot that it could not bear it. So she ran to the playground with a few friends. Everyone lay on the ground in a row in large fonts, looking up at the meteors. The whole picture of youth is like a poetic and picturesque scroll.
However, the Ishihara boy did not have the real feeling of "youth in progress", this is just the feeling of the supervisor "looking back now and remembering the past". In his opinion, the so-called youth may be that.
Takeda said that when she wrote the first volume of the novel, she did think it was an ordinary youth novel, but she wanted to add some feeling of intertwining grudges to the shining light. Therefore, when the animation was announced, Takeda was worried about how the audience would react to the uninterrupted and chaotic disputes between the characters. Fortunately, the response was unexpectedly good, which made her feel very comforted.
In Ishihara's eyes, Takeda is just a half-year-old child who has not been graduating from high school. Supervisor is curious whether Takeda also agrees that "youth is the kind of possession that only comes after passing away"? Takeda said that he has thought so since he was a student. Therefore, when I heard people around me say to her, "The most beautiful thing is when I was young" or "I am really energetic", I was extremely disgusted, and this idea has not changed yet.
Ishihara said that he resonated with Kumiko's words at the Season 1 episode of the Fireworks Conference, "Even friends who are close at this moment will go their separate ways one day." Because those guys who have thought that "maybe they will spend their whole life" often end up with nothing to hear. Such pain seems to be a part of youth.
Takeda said that he was strongly aware of such a problem when he was studying. During the junior high school graduation ceremony, the idea flashed through my heart: "After this farewell, I will part with the students in front of me." And "Blow! "The Bass" is a work that focuses on such emotional descriptions.
talked about the viewing of the TV version episode 1. Takeda said that since he didn't think about animation when he came out of the first volume of the original work, he screamed with excitement when he saw the sound scene at the first time. When he heard the concerted performance, Takeda was completely conquered and was so excited that he couldn't help himself. In addition, this time, she was produced by "My Family" Kyoto Animation, which surprised her and surprised her.When Takeda was in school, she studied works such as "The Melancholy of Haruhi Suzumiya (2009 Edition)" and "Hitani " adapted from Kyoi , and Kyoi's studio was also a must-pass for her every time she went to and from school in college.
Readers who are familiar with the original work will definitely think that the biggest difference between the animation version and the original work is that most characters have changed from , Kansai, , to Tokyo accent. In response, Ishihara explained that Kansai Ben, who had originally wanted to be loyal to the original work, also specially compiled a list of voice actors who had a connection with Kansai. But the key point of the drama says that Kansai Ben's appearance is not one or two, but almost all. It not only needs to find suitable dubbing candidates for the characters, but also takes into account Kansai Ben's requirements at the same time. Just thinking about it makes me feel it difficult to achieve, so I had no choice but to change the animation version to the standard version. But the audience can still vaguely see the shadow of the original work from the film's senior Asuka who was born in Hyogo Prefecture.
Another difference from the original is that compared to the novel's description of the band's performance, the animation version's performance role is very good. This made Takeda very excited, and she also pointed out that in addition to this, the animation version has also been added to "Blow! Yufeng 4 The secret story of the play of "Kuchiらきらきら" in Kitau Uji High School Blowing Music Club (Takashima Shu Fuku).
Ishihara revealed that the starting point of the animation version was to avoid daily performance scenes as much as possible, and only planned to focus on the SunFes in Chapter 5 and the Kyoto Prefecture Conference in the final episode. But I don’t know how it happened, but the content became more and more, and then almost every episode was played.
"Blow! "The Bass" was decided to be animated after the first volume of the original work was published, and the writing and animation production of the second and third volumes and short stories were in synchronization. It gives people the feeling that the novel laid many foreshadowings in the first volume, such as the relationship between students in grade 2 and 3, Taki's past, etc.... But Takeda said that he had never considered these issues at the time. In fact, she returned to the animation decision before rereading the first volume of the novel and searched for inspiration for volumes two or three. For example, the senior Asuka who has a strong role in the third volume originally wanted to write her as a character who often appears in the club, but is elusive but talented but beautiful.
This point is also beyond Ishihara's expectations. However, in the first volume, the three aspects of Asuka's sentence at the end of the end of the three aspects, "It should be done in 5 or 5 minutes!" made him vaguely feel that this is a child with a family problem. Takeda also felt that the description was indeed meaningful in words, but fortunately it came in handy in the third volume.
Takeda said that after the animation production was started, his task was mainly to check scripts and designs. Although she has read all the materials, her purpose is to minimize interference. Ishihara quickly added that he attached great importance to every thought of Teacher Takeda. It's like "cute" or "thanks to the producer for putting in the footage of tying the shoelaces".
When asked how the two parties maintained information sharing during the synchronization of the novel animation, Takeda said that when the first season of the animation was still being produced, she sent the outline of the second and third volumes to the production team. Ishihara explained that in the second volume of the original work, a girl named Kaizuka-fuck appeared. When the producer learned about her relationship with the same girl named Nimi, he inserted the necessary foreshadowing in the first issue.
So, is Takeda's writing inspired by the animation version? Takeda said that when he wrote the first volume, he was inevitably a little restrained in order to highlight the overall trend and airiness of the story. But in the following few volumes, in order not to make the plot too monotonous, she strengthened rhythm control in key plots through fine character portrayal and adding small episodes. Ishihara interjected, saying that Takeda also referred to the names and settings of the anime version of the characters in reverse. Takeda gave an example and said that when he wrote a short collection, he borrowed the relevant settings of male members.Also, in the series written with Lihua High School as the stage ("Room! Go to the bass series ~ Welcome to join Lihua High School Yi Band~ Previous and Next Chapters" Takashimashe Library), the protagonist Sasaki Azusa was greatly influenced by the animation version. This remark attracted Ishihara's complaints: "Azi should not be underestimated. I think in the first volume, I was at most a passerby character, but I actually became the protagonist." Takeda laughed and said that Azi successfully took office.
Then the topic turned to the experience of takingda's students participating in the play club. As a retired department member, what would Takeda think about the portrayal of the performance part in the play?
Since Takeda practiced playing the bass and trumpets until he graduated from junior high school, what shocked her the most was the scene where the characters accurately played the instruments. Not only did she accurately press the piston with each tone, what surprised her the most was that even the feeling of a little hollow on the tube was vividly reproduced!
In order to prepare the above shots, the staff of the main creative team not only rushed to the competition site to obtain materials and read related magazines, but also bought small trumpets and bass trumpets. Ishihara said that with a real instrument on hand, you can immediately and intuitively feel the way of holding the instrument and the touch when pressing the piston. This silver flower is worth it, but unfortunately I still can't blow it.
Takeda said that playing wind music is a technical job and it is difficult. She also mentioned the "daily familiarity" of animation and daily life. For example, a small trumpet with a prominent tone and a trumpet player with a flamboyant personality. The character's personality corresponds to the instruments played, which is very similar to the blowing musical club in reality. Also, writing and drawing on the music score also made her feel extremely friendly.
Ishihara said that writing on the music score is the reference magazine photo. The supervisor understands the behavior of scribing or posting photos on the music score as a disguised psychological sustenance for seeking protection.
and the other thing is that the officers name the instruments they practice. Takeda said that his friends all gave names to the instrument. Some people call the big drum "Tongcat", while others call the small drum "Lily". As for Lily, it seems that the name of that person’s mother, Takeda feels that students often give names based on their feelings. She described the overall atmosphere of the blowing music club as being a bit unique among all cultural departments, with a super typical style, and a desire to show off one's love to compete in front of others.
The new October series "Blowing" adapted from Ayano Takeda's novel! The second season of "Battery" is approaching the end. The ComicNatalie channel of the Japanese information website Natalie interviewed the animation supervisor of this work, Takiya Ishihara and Ayano Takeda, the original work. While reviewing the small episodes of previous broadcast content, they also made a prediction on the subsequent plot. Original link
Since it is a play music club, it is naturally unscrupulous to make music. Ishihara fully entrusts the relevant matters to the excellent sound engineers in the team to operate. Of course, the subtle notes of the piston are recorded separately from the formal performance and synthesized. It is worth mentioning that during later synthesis, the general method is to segment the entire pre-recorded piece with the picture, or extract certain notes separately and embed them, but "blow!" "The Bass" is to let the band perform in conjunction with each picture. For example, everyone is practicing a certain piece of music, and Teacher Taki suddenly shouts to stop. At this time, the music will not suddenly come to an abrupt end, and the officials will stop playing one after another. In terms of painting
, Ishihara feels that those so-called very animated, exaggerated and cool shooting angles in the usually sense are not suitable for this work, so most of them adopt regular sports mirrors. This feature is particularly prominent in the second season. The most representative one is the OP in the second season. The camera is honestly maintaining a fixed camera position. The director believes that doing so is more in line with the style of cooperative products.
Then the topic was extended from OP to ED, and this time the ED started with a fantasy style. Ishihara said that he did not interfere with ED creation, but allowed everyone to play freely. However, compared to the youthful dynamics of the first season, the ED in the second season is like the music, and the atmosphere of graduation is everywhere. The supervisor entrusted the female original painter in the painting part, so the characters drawn were particularly charming. Takeda said that he particularly prefers the ending song of the second season.Not only is the style of painting super cute, but the favorite "Big Horn" ("Big Horn" is a mascot character created based on the instruments in the work, not the one) has made a high-profile appearance! The supervisor explained that he felt that the second season of "Big Guy" did not show his face in the main drama, so he arranged it to appear in ED.
Overall route, there are relatively more funny elements in the first season, especially in Chapter 2. However, after the first season of experiments, Ishihara found that this drama is more suitable for the development of a serious route, so the general direction was adjusted in the second season. Speaking of season 1, we have to mention Chapter 8, which is a climax of the story development. In Chapter 8, it changes the daily practice scenery of the club and depicts the Kyoto Uji Festival with great geographical characteristics. In addition, the open heart and serious conversation between girls is also a highlight of this conversation. This is similar to the episodes of Nicholas and Kaetsuka Season 2. In terms of
production, after the first season of running-in, the staff's understanding and grasp of the role are more in place. For example, in episode 5, there is a scene where Kumiko and Azi are talking on the phone. In the picture, you can see Azi's wrist wearing a braided hand strap, which comes from a series based on Lihua High School. During the production, the Ming Dynasty, who was responsible for the color design, suggested to the supervisor that Azi would have a better effect if she had to wear a hand-tie. Similar details are all thanks to reminders from people around her. All of the above makes Ishihara feel much easier than it was in the first season. On the contrary, the difficulty of describing instrument performance is increasing layer by layer. In the same episode 5, the complete performance of "Three Suns and Moon Dance" has reached a higher level than before. Faced with these increasingly difficult obstacles, supervision can only face the difficulties. Although the theatrical version was released between the first and second seasons, there was a gap of more than a year after all. The second season 2 episode 1 cleverly launched a one-hour special approach, which rekindled the audience's enthusiasm. In response, Ishihara said that the special reply in Chapter 1 can be called accidental or helpless. Although the playback cycle of the second season is a common 13 weeks, from the perspective of series composition, no matter how you calculate it, you feel that the length is not enough. So, the producer came up with the idea of making episode 1 into a particularly lengthened version. This not only brings a different feeling to the audience, but also allows you to enjoy the fireworks conference as soon as you come. Speaking of this, the supervisor specifically pointed out that perhaps the local situation is not well known to outsiders, but Uji's fireworks took a lot of effort from the production staff. Takeda next to
quickly echoed: "When Uji locals saw that part, they felt like they were in the scene." Although the fireworks conference has come to an end in 2014, Takeda said that when he watched the first episode released, he felt that little memories of the past were instantly awakened.
Supervisor gave a detailed explanation of the Uji Fireworks Conference, saying that the conference is themed "The Tale of Genji" and is divided into 1, 2 and 3 acts. Every time I reach the climax, the radio of "Eternal Light Genji" sounds in my ears... The supervisor asked Takeda if the handling of this section was quite sensible. Takeda replied that although he couldn't remember the specific content about the theme of the Fireworks Conference, when he heard the familiar radio that he had heard every year, all the past was vivid in his mind. As a native Uji native, the touching moment was beyond words. Takeda then analyzed that perhaps because the voice actors were not familiar with the situation, the interpretation of the Fireworks Conference seemed relatively calm, and only the locals could understand the wonderful things. At this time, Ishihara suddenly inserted, and actually according to the novel's timeline, "Blowing! "The Bass" tells a story that happened in 2015, and is proved by the etude "The Wind of Provence". According to this calculation, the Fireworks Conference became a fictional reality... Takeda also laughed at the distortion of time and space.
Speaking of the more satisfactory part in the second season, in addition to the fireworks conference we just talked about, Ishihara once again mentioned the performance scene of episode 5. In his opinion, the play not only overcomes technical issues such as sound and picture coordination when playing music, but also describes the momentum of each character when he is in the battle.Needless to say, the main characters such as Asuka and Mako are included, even Nimi in the backstage, and Kumiko finally overcomes her previous shortcomings... and the performance cleverly incorporates everyone's own thoughts into the entire performance.
Takeda mentioned the cultural festival in Chapter 6. The performance intersperses the girls' playful and cuteness just right into the slightly nervous plot, which is most in line with "Blowing! Features of "Bass". From the relaxed and lively atmosphere at the beginning, it naturally transitioned to the memories of Taki Taki, and the attitude of Renai moving forward bravely... Looking at Kumiko who was concerned about the two and worried, Takeda couldn't help but shout in his heart: "Careman of middle management, come on!" (The "middle management cadre" here refers to Kumiko, sandwiched between the relationship between "high-level" Taki Taki and "bottom-level" Reina).
On the eve of the second season of "Blowing! Yufeng" is about to end, Ishihara revealed that he finally returned to Kumiko's performance was quite hard-working, thanks to Tomose Kurosawa's outstanding acting skills. The supervisor was even deeply infected during the surveillance process, and tears filled his eyes. Takeda, who also watched the recording on site, also said that the final words were very good at the moment of graduation. Moreover, according to Ishihara, because he was too immersed in the show, Kurosawa actually started crying in the last scene, and he was truly a dedicated actor.
What impressed Takeda was the head-on episode between Asuka and Kumiko. Takeda said that when the novel was written, he was at the lowest point, so he felt a lot. Now that things have changed, the novel has been published smoothly and I have also enjoyed the wonderful animated version. There is no doubt that my inner joy is, but looking back at the beginning, Takeda admitted that he really feels like living a life of the year. Ishihara was surprised by these words. Takeda clearly remembered that in order to let Asuka return to the play music club naturally, she thought hard day and night and scraped her stomach. Although I racked my brains and put myself in Kumiko's position, I was still at a loss. Seeing the deadline being delayed again and again, I felt like the end of my journey...
Finally, I talked about my views on the work. According to Takeda, when the novel was written and animation production went hand in hand, it was a time when she was considering her way out after graduation. The final choice of her current career was related to the anime version that was well received by the animation version at that time. It can be said that the animation had a significant impact on her life choices.
In Ishihara's eyes, although today's Japanese society has not formed the value of "working diligently means being stupid", a bad habit of "not taking the spirit of down-to-earth and hard work seriously" has gradually emerged among young people recently. Supervision does not deny that most people are indeed working hard, but he wants to take this opportunity to advise those who are lazy and work hard and do nothing all day long. The seemingly endless energy that a person's youth and energy will gradually fade away as he grows older. As the saying goes, "If you don't work hard when you are young, you will only be sad when you are old." You should take advantage of your energy to consume your energy in club activities or focus on something you are interested in. In short, Ishihara is able to present the "Blow" to the audience at such a moment! "Going Bass" is a very honored animation work that does not rely on showing off skills and only determines the outcome based on straight balls.
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