The TV anime "Don't give your hands to Eiken!" Will be broadcast on NHK General on January 5, 2020.
This work is based on the comic "Don't give your hand to Eiken!" Which is serialized in "Monthly! Spirits" (Shogakukan). Midori Asakusa, who excelled in setting and producing, filled with fantasy, Sayaka Kanamori who loves making money, and a female high school student who is a charismatic reader model who is aspiring animator Mizusaki Swallow Three girls high school girls through animation production to create their `` strongest world '' It is a work that we create.
The original author, Sumitomo Odo, has been fascinating readers with his original style, which is his debut work, painting with a unique world view and picture work, and elaborate setting pictures appearing in the work. . This time, we asked Daido about the anime from the standpoint of the original creator, "Don't touch the video lab!"
──Please give us your impressions of the animation.
Hard fighting Masaaki Yuasa Director is now possible to us in charge of the supervision. I've been watching Yuasa's works such as "The Four Tatami Half-Mythology Taikei" and "Kaiba" for a long time, and have been active as an animator in "Crayon Shin-chan" etc., excellent as both a director and an animator I thought he was That's why I thought "that" director Yuasa would make my own work, and I was told by the fans that it was a long-awaited combination. So I was surprised and convinced of the victory (laughs).
大 Please tell us about the TV animation production site seen by Odo, who is also very knowledgeable in animation production, and how he cooperated with Yuasa and others.
Enormous effort I have less friends, for the Toka fellow to talk, but I did not have too much anime, but still the story, such as that the original author is troubled very If the site is stopped by issuing the mouth to the site and see and hear not to mention. I have a full trust in director Yuasa and Science SARU, so I really wanted the site to do whatever I wanted. It doesn't matter if you ignore the original. The stance was not to say anything, but to ask a question, and to return one hundred when asked. As a result, we received a variety of questions from Science SARU, and now he is included in the production team and feels like we are working together.
──What are the things that the anime production side wanted to know?
Is it the structure of the PDT (Personal Defense Tank) that appears in the work of Daido, and what is the location of each scene? It's not detailed in the manga, but maybe more details are hidden? There were many exchanges where I asked them to delve into what they felt and responded. There were nuances as to whether the delusion scene was just a delusion or more meaningful, and there were also questions asking for details. Is the cloth on which Mizusaki (swallow) rides in the scene a flying carpet or a cloth tied to an airship? Are you fluttering or a solid foothold? The exchange was very interesting because I could see what I wanted to express from the content of the question.
In your stance of entrusting everything, are there any points that you still want to take care of or that you have requested?
Daido: This is the story when I first met Director Yuasa, but if the title is "Don't go to the video lab!", The main character can be another character. I did. I think that there are things with the original that bring the budget and so on, so I think that it would be okay if the site would make something fun. If I looked at it from a meta-point of view, I was quite seriously thinking that it might be "Don't do anything with the video lab!" I entrusted that much and I was looking forward to Yuasa's new animation.
は Is there any motive or motif that created the title “Don't give your hands to the video lab!”?
Enormous effort "by turning the fixture Dial M" and "North by Northwest", I wanted to taste the title, such as old movies such as "to us there is no tomorrow." There was a movie that said, "Don't go out for cash." While thinking about it in such a way, I felt like "Don't go to the video laboratory!"
──Please tell us your impression of watching the video of the anime.
Enormous effort fact because it is not seen the video, which was still completed (※ interview conducted in 2019 autumn), it made an impression as seen in the dubbing. There are also elements of the original anime, and these scenes are new videos that I see for the first time, so it's impressive. The scene where Asakusa, Mizusaki, and Kanamori escaped from the men in black clothes was very interesting, and they recorded their voices in various patterns, but every time they laughed many times. As such, it was one of the things I expected as a viewer, so I was able to see it with a fresh feeling even for the original author.
ど う How were the voice actors doing?
I can only say that Daido is already top notch. I realized once more that I was impressed when I felt that my (professional job) was professional. I was acting when I was making my own film when I was a student, but I didn't have any instructors. I thought that when I made the video I made and looked at it, the performance was different. Looking at the professional performances, I thought it was so different even if I took one inflection, and I thought that the use of acting from real to comical was wonderful. Animation is something that complements and complements the performance of a video picture and the voice actor's voice.
Can you tell us what kind of creation you have done so far?
I started drawing illustrations around the upper grades of Daido Elementary School. I've been painting since my younger sister, so I think that had an effect. My parents were also hobbyists. I entered junior high school when a wave of otaku culture, such as "The Melancholy of Haruhi Suzumiya" and "Lucky Star," came along, and at the same time, Flash animation was on the internet at its peak. So, drawing some gif animations was my first experience creating visual objects. Regarding Flash, I was frustrated because the software was difficult. After that, as a fan, I was immersed in anime, and I mainly used illustrations as an expression, but I always wanted to make anime. When I was in high school, I heard rumors that the movie club would make animations, so I joined, but I didn't actually make them (laughs). However, that led to my interest in video. GoPro (wearable camera) came out to the world, and very cool videos came out on YouTube, so I studied camera work and practiced it in the movie club. As an extension of that time, now I am expressing how to make one picture look like a picture.
SAScience SARU is also an image of using FLASH effectively. How do you see from the teacher's eyes?
Daido Science SARU has a strong impression of doing it on a hybrid. Until now, FLASH had an image of a simple animation production that animated a fixed shape and made it animate, but I don't think it was always the case. FLASH is just one of the tools, and I think it can change depending on the people who use it. Every time I see such expressions, I regret why I first dropped out when I first touched FLASH (laughs). I'm also interested in why Science SARU introduced FLASH and how to use it, and I hope that people who see through this work will be interested in such places You.
Are there any points that have stimulated or influenced the animation production?
I think that my child 's painting has improved (laughs). Animation has to minimize the blurring of pictures and unify the design. Looking at the character designs that have come up, it is still clever! I think. If you look at a picture that is a few steps better than you, even though it is composed of the elements you have drawn, you can see what is different. If you don't have your own character, you'll only be able to use it, but you'll see something you don't have, or discover that you've changed this. It is directly useful for improving your skills, and is a unique feature of the original manga artist. On the other hand, when I drew "Video Lab", I didn't consider how easy it was to draw in animation. I try to add more and more elements that make it impossible to visualize. It also includes the story of money related to production, which is difficult to draw in animation (laughs).
──It's symbolic that Kanemori, who has a good account, is among the three protagonists. Can you tell us how you made the balance between the three main characters?
Daido was almost the first time to create a character, so I consulted with the editor in charge and made it. Mr. Mizusaki's young lady element was born while talking about the importance of attaching characters. What I was conscious of when creating the character was that it needed features that could be seen at a glance, both in the appearance and appearance of the character, and in the interior and background. As an image, Mr. Asakusa entered 〇, Mr. Kanamori entered □, and Mr. Mizusaki entered △. In terms of personality, one is a shy person, and this is the hero. It reflects my own infidelity. Regarding Mr. Kanamori, the gold account is still important! I thought that if there weren't anyone who could take on the role of a producer, it would fit in the frame of students. In order to make something beyond that, I thought I needed someone who was looking at absolute reality. Since the two are so weird, Mr. Mizusaki is a person who brings us back into another real, social relationship.
── The part of the character stand inflates the young lady element.
It looks like a child . I just didn't want the young lady element to feel unreal. I'm rich, but I don't necessarily have to be rich. Mr. Mizusaki wants to be able to draw the part of being such a child, whether or not he is a rich family child.
芝 Shibahama High School, which will be the stage, is also unique because of the strong student council, performance of budget sharing, and high degree of freedom in club activities.
I think that there is an admiration for the place of my university in the vicinity of the daido . I think that the best place for students to do whatever they want is the best, and that students want to be able to do whatever they want. I also wanted to create a dungeon-like space and a space where a wide variety of things could be collected.
──How was your freedom and inconvenience when you were a student?
Enormous effort I myself was of the correspondence high school, but often school in schooling had been carried out. There are people who are over 15 to 60 years old, there is a Japanese curriculum for foreigners, and childcare can be done in the school. The deviation value was low, but why someone at this school is so clever that he is aiming for a doctor. There are people who want to master ballet and there are really many people, so something like that diversity may be in the work.
Your teacher is also working on the ending video this time.
Daido: Since the production period was limited this time, the elements that I thought were important for animation were created with the image that if an amateur (anime) does this, it would be like this. I think that the animations made by professionals are completed as quality, so I wanted to show where the videos created by the original author fit. We have provided everything from the rough stage to the fair copy, so I'm looking forward to seeing what it will look like.
先生 It's interesting that a teacher who has applied video production techniques to manga has now created animation videos from the perspective of manga artists and original authors.
It looks like a child . I started drawing cartoons, thinking that I couldn't be a commercial animator, and that animation couldn't be made in time or work. As a result, I think that drawing an animation with the ending of a commercial work went through a ridiculous detour (laughs). I'm very happy.
──Lastly, please give a message to your fans.
Daido: I know this work will definitely be a good one. Expect and wait! is not it.