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发表于 2011-5-1 10:09
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VOL.3 BK中SDM受采访[前編]的英译
ENGLISH, Shiori Teshirogi Interview- part 1
JP->EN translation: Archange
What are the feelings of Shiori Teshirogi about the anime and what is her implication? We'll ask her questions about the season 2 in this first interview.
1. This question rather relates to the season 1, but we would like to know what is your overall involvment in the Lost canvas anime adtpation. To begin, what are your exchanges with Yuko Iwasa about the character designs she makes ?
She shows me what she has done and I give my impressions, but I never makes big changes. I like the character's expressions, and the design is to my taste. In fact, when I look at passages adapted into the anime, I am sometimes surprised by the great similarity to my drawings. Sometimes I say "Ah!" seeing the expression of half-closed eyes or the hair's movement. I am pleased to see that the design captures very well what I draw. My assistants also feel that way and often find that the expression of a particular face has a good feeling.
2. and about the scenario?
The season 1 of this anime dodn't really stray from the original work, I have only had to give some advice from time to time. However I was regularly asked to write additional scenes for the season 2. The anime staff asks me "There is some empty space available in this episode, is there a scene you would like to add?" and I reply "in this case, let's put this story".
3. One of these additional scenes is, for example, Yato's childhood in the episode 15.
I did want to give a tragic past to Yato. He admires the heroes and wants to become one. I feel that the concept of ​​a honest young boy fits him. And I'm not sure why, but I also wanted to establish a connection between him and Cardia. I also wanted to add sisters. Ultimately, this addition to Yato is a mix of a bunch of separate ideas that I had. Cardia is also introduced earlier than in the manga, and the result in the anime is very satisfying. In the anime it seems that Yato leaves together with Cardia, but from my point of view, he and Cardia go on their separate paths after their first encounter. But in any case I think it's a good scene that illustrates the relationship between Yato and Cardia.
4. Otherwise, although it' not an addition invented for the anime, but the Yuzuriha Gaiden published in Princess Gold has also been included.
The Yuzuriha Gaiden is a story that my previous "tanto henshū" (NDT: the person in a prepublication magazine who validates the work of a mangaka and asks for scenario/drawing modifications if necessary) and myself wanted to create for years. I'm glad to see the anime adaptation as well as seeing Tokusa in motion. Originally, the Yuzuriha Gaiden was a story I had planned to use for a long time, and I then used the passage of the "Forest of Death" to show Tokusa. It is satisfying to see that the anime has linked these passages gracefuly.
5. And so, the episode 18 contained in this volume 3 shows a scene with Manigoldo, which was not included in the original manga. Sage says "does not speak so easily of despair", and a flashback ensues.
One might think that Manigoldo is the kind of character that seems to ignore the despair, that would say "yeah no problem" looking at the dark abyss that leads to Hell. It gives the impression of always be watching the depths of Hell. But as for me, I wanted to show a scene explaining how he could become such a person. I wanted to draw it somewhere, and the anime was an opportunity to incorporate it.
6. This scene helps to understand the depth of the relationship between Sage and Manigoldo.
There are so many things about Sage and Manigoldo that I could not include in the manga. Manigoldo has gradually changed after being rescued by Sage, but the manga lacks scenes showing this. As Sage and Manigoldo are the kind of characters who speak frankly about life and death, I thought it would be appropriate to depict this scene as well.
7. It seems that there is a lot of extra scenes that you want included in the manga, right?
For sure, a weekly publication reauires to advance the story, and we can not spend too much time dwelling on some small details. In particular with Manigoldo's case, I often thought about some additional scenes I would have like to draw with him, although he had already left the story. I grabbed my chance in the anime (laughs). This applies as well to the relationship between Sage and Manigoldo, or the link between him and Tenma, and other scenes like that. I am happy to be able to include these sequences. The fact that Manigoldo is of Italian origin and that Tenma has grown up in Italy creates a first common point between them, and they also both lost their village. Manigoldo is one who has overcome this past, while Tenma is the one that failed to let it go. So I always wanted to have a scene showing them discuss this topic (laughs).
8. Actually, the scene where Manigoldo bids his farewell to Tenma is a little close to that.
This scene is an addition made by the anime staff. I find it beautiful, and I am really impressed by the result obtained in the anime.
9. Manigoldo is a character that leaves a strong impact, more than its equivalent in the Saint Seiya by Masami Kurumada. What was your creative process on Manigoldo?
To begin, Manigoldo and Deathmask have almost the same behaviour. In particular, Manigoldo as a child shares the same scale of values as ​​Deathmask. I wondered if Deathmask would have had the opportunity to become like Manigoldo. One could say that is a Manigoldo is a Deathmask who followed a different path. I like Deathmask, although it has never been in a cool scene and played a bad role. So I drew Manigoldo telling myself that I wanted to see a cool Deathmask. One of Deathmask's lines about "trash" left a strong impression on me, so I wanted to turn it into a key sentence for Manigoldo.
10. It seems that in addition of Manigoldo, the Gold Saints you draw are strongly influenced by the original work of Masami Kurumada.
At first, I went on the rule that for me, the characters made by Masami Kurumada were the complete versions, the perfect ones. The Lost Canvas Saints, those of the previous era were thus portrayed as incomplete versions of their counterparts. This was the basis, and then I introduced some slight personality changes. But recently I think I sometimes stray away from this rule.
11. And finally, what is your opinion on that volume 3?
I find that the result obtained by the anime on episode 18 is fantastic, whatever the scene. Reminds me of the time of the publication. Damn, it feels like I'm congratulating myself myself for drawing these scenes (laughs). The episode 19 is where El Cid makes his appearance, however it has a diferent feeling, a taste of freshness. The link between him and Sisyphus is more highlighted than in the manga, and I'm happy to see this episode. The dream gods are also appearing. I like this episode.
"I put in the anime the scenes between Sage and Manigoldo that could not be put in the manga"
"I wanted to show Manigoldo when he was training. It's one more reason that makes me love this flashback."
"The scenes between Cheshire and Pandora also increased on the anime scenarists'initiative. I think Cheshire is just as cute in the anime."
来自：SSP [s:146] |
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发表于 2011-4-26 10:06
发表于 2011-4-26 10:07