Author: izumi/Anitama Cover Source: Re:CREATORS
At the earliest, when Aoki was ill and hospitalized as a child, he casually flipped through the "Weekly Shonen Sunday" placed in the waiting room, and came into contact with "ly BLOOD" ♡of Masami Yuki, which was being serialized for a short time. At that time, Aoki was still in the around the age of elementary school and junior high school, and he was impressed by the "baptism of the adult world" he received from his works. However, the work that really made Aoki remember the name of Masami Yuki was the "Ultimate Superman R" that he watched later.
"Ultimate Superman" was brought into the pit by Aoki by a friend from junior high school. Because the content of the work is too wonderful, he chased after the works of Yuki Sensei all the way, until the time of "Mobile Police", he was completely reduced to a loyal fan. Speaking of which, Aoki mentioned that in his early years, he had also painted the fandom of "Mobile Police" with the friend who liked "Ultimate Superman", but now in front of the idol in his heart, he confessed the old things, which was quite embarrassing.
At that time, the manga of "Mobile Police" was basically released at the same time as the OVA, and the difference in the worldview setting between the two made Aoki feel very fresh. According to Yuki, as a work serialized in a weekly magazine, in order to facilitate the flexibility and maneuverability of operation, the character of the comic version of "Mobile Police" was basically decided by him while drawing. When it comes to the feeling of character shaping, compared to most authors who describe "the characters in their own writings", Yuki is in consultation with the characters, but unfortunately, his proposals are often rejected by the people in the play.
The reason why the teacher pays attention to Aoki Supervision is mainly because he has recently finished an anime called "Re:CREATORS". When Yuki talked to the people around him about "Aoki's works are quite suitable for his own appetite", he realized that he had bought the ALDNOAH on the bookshelf in a set and brushed it together. ZERO, "The Promiscupied Boy", and "Fate/Zero" were actually from the same person, so they were complained about by the friends who chatted together. As soon as these words came out, Aoki, who was a fan of Yuki Castle, was instantly overjoyed.
Yuki can't tell which of the qualities of Aoki's work is to his liking, it may be the rhythm of the image, or the performance technique. Later, through the analysis of Ryusuke Hikai, an expert in animation and special photography, it may be Aoki's strict and beautiful performance style that makes Yuki quite useful. Especially when he saw the character revenge on the original author's post-establishment structure in "Re: CREATORS", Yuki was able to watch it with relish while lamenting Aoki's daring "playing with fire" operation.
Aoki was also impressed by the whimsy of Reiwe Hiroe's anti-guest, and he attributed this reverse thinking to the unique creative inspiration of manga artists. The ending shot in the play that points directly to the core of Mr. Hiroe's creation has aroused a high degree of resonance with the supervision, so during the production process, Aoki always tries to accurately convey his feeling after reading to the audience.
It should be noted that although Yuki and Aoki admire each other, the two meet for the first time in reality, so the supervisor curiously asks Yuki Sensei, as a manga artist who has created a large number of charismatic characters in a long-term serial juvenile manga, why not use the usual juvenile manga to drive the plot development with the almighty protagonist, but adopt the perspective of God who overlooks everything, calmly and neutrally narrating the various grievances and entanglements of the characters on the scene, whether he intends to do it.
In this regard, Yuki explained that the reason why he did this was not subjectively deliberately avoidant, but because he inherently lacked the energy to resonate with the same frequency as the character. Yuki regards the protagonist simply as a navigator who guides the reader into the story world, and as for the character characteristics of the characters, they are gradually mapped and outlined through the reactions of the people around them who deal with them, through the precipitation of time. This is also the reason why Yuki does not express his own ideas through the mouth of the protagonist in the work, and even rarely gives the protagonist a clear goal in life. This point is indeed quite unusual in the juvenile manga works where the sense of mission is supreme.
Yuki believes that too much emphasis on the special mission of the character will always bring him the association that "once the purpose is achieved, the meaning of life will end". Let the young protagonist bear such a heavy burden, it is not unbearable. And "The Twilight Chronicles", which ended serialization in 2017, is an exception. Because the work had been decided from the beginning to end in the 10-volume volume or so of the monograph, it was necessary to formulate a certain goal for the character.
In the view of the supervisor, the similarity between animation works and juvenile manga is that in most cases, through the subjective guidance of the protagonist, the current situation is constantly broken through the status quo and the plot is promoted. His personal preference for the way of looking down seems to be based on physiological instinct.
The narrative habits of Yuki castle are mainly due to the influence of the works of previous generations. During the golden age of exploring the interpretation of shonen manga, Yukichi's "cold eyes" displayed by Yokoyama's "Iron Man 28" and "Iga's Shadow Maru" and other works inspired Yuki, who was super fond of reading such adult-depicted manga.
Aoki also expressed his love for Yokoyama-sensei's work. While watching Babylon II and its sequel, 101 Superman, Aoki has been wondering why this bloodless juvenile manga is so compelling. Obviously, the author tells the protagonist's experience without any emotional bias, and does not make the reader feel substitution when reading, but the character image is still distinct, which is simply incredible. If there are juvenile manga in the world that "overlooks the genealogy", then Yokoyama Mitsuru sensei should be the pioneer of this branch.
Then Aoki said that since The Beginning of his career in the supplement "APC" serial works in the "Monthly OUT" supplement, early works such as "Ultimate Superman" and "Mobile Police" have exuded a strong "otaku atmosphere" and "fanaticism", but then gradually turned to the public taste, and the current "Run Bar Shinguro" in the series also involves historical themes. He was eager to understand what was behind the teacher's transformation.
Yuki admits that creating historical themes is his long-cherished wish for many years, although historical comics are not popular, but since he has become a manga artist, he wants to try at least once in his life. And ridicule, good villains have worked hard all these years without merit and hard work, even if they do not make money, as long as they open their mouths, the publishing house will also give him a face through planning.
The teacher's big truth touched the supervision, and Aoki did not have the impulse to "really want to create a certain work" in his heart, but most of the time out of commercial interests, he had to give up. The overseer wants to strike a balance between "desire" and "feasibility," but doesn't know whether to put obedience first.
After listening to it, Yuki talked about one of his recent discoveries, and he felt that the cartoonist's "want to draw" was just a sneaky concept in the expression, and in the end it was "want to see". Because I wanted to see it, I drew it, and thinking like this would make Yuki let go of the burden of thought a little. On the one hand, since you want to see only paintings, on the other hand, what you want to see is definitely not limited to otaku works, which is conducive to expanding your own potential.
Of course, before each new series, the teacher is also mentally prepared to be abandoned by half of the current fans. The so-called goer can not stay, but also can not do things. At the same time, I believe that this new work should win the approval of a new wave of readers. The truth of the people who came over made Aoki's heart open and he hurried to thank his predecessors.
In addition, Yuki also said that many writers will give up just because of the subject matter before considering the content of the story. But he prefers the kind of story that suddenly jumps out of a robot, or the plot is bizarre. In his eyes, such an age-old historical work as "New Nine Lang", due to the difference between ancient and modern values, is not much different from the setting of science fiction and magic works. In addition, the teacher also revealed in passing that he is currently planning to open another new series that integrates the elements of "paranormal phenomena".
Yuki is open to any form of manga and anime, so he is looking forward to whatever type of work Aoki oversees. The teacher feels that changing the subject matter is just changing the carrier, and the root of the work still depends on its own rhythm and rhythm. As long as the sense of rhythm is properly grasped, it will make fans who are addicted to it willing to obediently follow, just like he himself, good Aoki supervises the mouth of the work. Aoki was flattered to hear it, saying that he was one of the new works that he was unconditionally looking forward to Yuki-sensei.
Finally, when asked which work he would most like to animate Yuki-sensei, Aoki supervisor did not hesitate to say "Ultimate Superman". The supervisor is sure that many of his peers will push this film, and firmly believes that the game can make audiences aged 35 to 40 minutes into the pit. He really wanted to make "Ultimate Superman"!
<h5>Resources:</h5>
September 2019 issue "NewType"
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Original: m.anitama.cn/article/35749a916b7db9a0?utm_source=toutiao