"Grey Ultraman"
Author: LIAR
Ultraman G (Grey Ultraman), which was the original project by a close-up script led by Aikawa Sheng, will release its Blu-ray BOX on January 27 next year, and this game is not only the first OV series of the Otter series, but also the first work produced overseas, and it also has a special significance for the Otter series.
Grey Ultraman Blu-ray BOX cover
"Grey Ultraman" is the first Ultraman work produced since Ultraman 80 (Eddie Ultraman) 10 years apart, and is also the first Otter work produced in Japan after the change of the Japanese era name from Showa to Heisei. Due to the popularity of OV (which is OVA for animation, which is usually called OV or V Cinema), and Marutani was planning to produce another project for the stage in Australia, it was only natural that a new OV version of Ultraman would be produced with a full 6-episode ending. Later, taking into account overseas sales, another 7 episodes were added to form a work of all 13 episodes and 1 season, which is what we see as "Grey Ultraman". Before it was broadcast on Japanese television, it was first screened in cinemas under the name of "feature-length films". This month also marks the 25th anniversary of the release and premiere of the theatrical version of "Grey Ultraman" in Japan.
Due to the cooperation with Australia, this game uses overseas actors and the Ultraman posture that appears in the plot development is extremely fresh, the material used in the Ultraman leather case is also different from the past, the new form is new, the new Ultraman makes the Fans boil with blood, the sales of toys continue to praise, the soft rubber dolls that were originally only sold overseas are also imported into Japan for sale, and the animation and special script writers Aikawa, Hidenori Miyazawa, Chiaki Konaka, Akira Endo, and Tomoyuki Suzuki are the original cases. In this work, Aikawa Andaki Konaka is equivalent to the core characters of the worldview setting and series composition, the special camera supervisor Koichi Takano serves as the special camera consultant of the game, and the rest of the production team are well-known characters in Australia. The Japanese blowing of the protagonist Jack is played by Masaki Kyomoto, who has a deep relationship with this game, not only the dubbing, but also the naming of the game and the use of uniforms. The rest of the UMA team's blow-up lineup included Akiji Tachibana Fujibei Kobayashi, Koichi Yamadera, Fumi Hirano, Ryoko Yukihara, and Shingo Yanagisawa, who currently starred in "Obu Ultraman", with the first half narration played by Hiroshi Hongo/Kamen Rider 1 Fujioka, the second half being Kenji Uchikai, and the narration being Tetsuki Genda. When the theatrical version was released in Japan, it even played the internationally popular "first-class entertainment work" and attracted people from all walks of life, which became a topic of discussion for a while.
Previously, Aikawa Washeng was invited to receive an interview with Bandai Visual's electronic magazine "v-storage" Vol.8, talking about the inside story of participating in the production of this work.
Aikawa's participation came around 1989, when Kiriyoshi Suzuki, a producer at Marutani Studios, approached Hoikawa's master, Hideka Nagasaka, in the hope of introducing several young playwrights to the new film through Nagasaka. At the time of the OV's popularity, Marutani also hoped to make several OV works, including the planning of this work. It just so happened that at that time, Aikawa Sheng wrote quite a lot of OVA works, and he naturally knew a lot about the production of OV and its quality, so he took over this job.
The so-called original case is the original Japanese script of this work, which was translated from Marutani into English, and then changed to the script for official shooting in Australia by the Australian producer and Terry Larsen (テリー·ラーセン). Terry made some changes to some nouns, such as the protagonist Jack Shindo (Jack Shindo, ジャック·シンド), and the original name was Andy Landau (Andy Landau, アンディ·ランドウ). However, Terry's accusations indicate that the name Landau is easy to pronounce as Rambo and is very much like a Japanese name. After connecting with Kiyoshi Suzuki over the phone, he came up with the surname Shindo, and Suzuki said that the Australian side also agreed with the name, and it was very ethnic and the pronunciation was very suitable for Japanese. Hence the name Andy Cindot. But the name "Andy" didn't sound loud enough, and eventually Jack Cyndo was adopted.
The protagonist of the film, Jack Cyndo
And the name of the monster, Aikawa said thank goodness, the other party did not think too much, so it was directly adopted unchanged. The first 6 episodes were completed in only 3 days from the time of acceptance of the commission (Aikawa was in charge of episodes 1, 2, and 6), and Aikawa said that he did not think carefully about the name. However, after submitting it, although the Australian side had no opinion, Huichuan's heart was still blocked, and in the end there was no change. When Kiyoshi Suzuki praised him, Aikawa himself was also an hindsight, and the name "Godis" was really good.
Appearing in Episode 1, Godis is the boss of Grey Ultraman Part 1, appearing on Mars as a collection of highly intelligent retroviruses in an attempt to absorb evil beings from all of the universe. Although defeated by Grey Ultraman's plasma combustion in Episode 1, after it was decomposed by dissolved light, the cells landed on Earth, and resurrected monsters such as the bicephalangal beast Broz, the ancient monster Kigassaurus, the fiery flying dragon Jerugaton, the wind demon de Gaenga, and even the poison gas phantom monster Barangas, and in episode 6, the Godis cells absorbed other creatures and merged, and the fusion was resurrected into Godis's 2nd form.
The name of the evil creature Godis is marked "Goudes" in English, and the Japanese pronunciation "ゴーデス" is integrated into the meaning of "GOD(ゴッド)" and "DEATH(デス)", which has a great boss feeling and is particularly majestic. Regarding the image of monsters such as Godis, it has always been completely left to the designer to consider, and the monster designer responsible for the monster design of this game is the monster painter Yoshida, who is responsible for the design of many Heisei "Godilla" films, and is also responsible for the monster design of the first theatrical version of "Ultraman" written by Hideka Nagasaka. Aikawa said that because the original script of this game is responsible for several people, it is naturally impossible to achieve unity in the image of the monster, so it is better to leave it to a professional monster designer.
Yoshida's design draft
About the image of Godis designed by Yoshida, it is simple and easy to understand, "Speaking of Mars is an octopus", in Yoshida's view, it seems that most science fiction novels like to depict Martians as octopuses, thanks to herbert George Wells's science fiction novel "The War of the Worlds" (Day: Cosmic Scramble), Herbert George Wells in the novel designed the image of Martians as a giant octopus, Therefore, the octopus-type Martian image also formed a consensus in the minds of most people, and Aikawa also conveyed his ideas to him at the time of Yoshida's design, hoping to design the alien image that appeared in overseas movies.
Cover of World Wars. On the cover is the Martian and Martian battle machine.
Aikawa said that during the writing of the script, the image of the ancient monster Kigassaurus should be the most stable in his mind, and the skin was like a thunder dragon, although he conveyed his ideas to Yoshida, but Yoshida's final design was still different from Aikawa's idea. The appearance of Jeru Gadon in episode 3 was based on the umbrella lizard, which was decided in advance, but Aikawa was surprised and admired after seeing the image designed by Yoshida. Another person who impressed Aikawa was Chiaki Konaka, who served as the script for the original cases of episodes 4 and 11.
People who are familiar with Chiaki Konaka know that Konaka is a true cthulhu mythology enthusiast, and the Cthulhu element has also been introduced into the subsequent Ultraman series from "Grey Ultraman", and the "Diga Ultraman" in which Xiaozhong participated in the script and the "Gaia Ultraman" that served as a series composition can see the elements of the Cthulhu myth very obviously. According to Aikawa, Konaka almost described the image of the monster in the script stage, and he would personally draw an impression design draft.
Barangas is a very persistent monster of Akira Endo, who is in charge of the 5th and 10th episode scripts, but the design draft of Yoshida's painting does not reflect the feeling that Endo wants, but in the end the feeling of the monster holster is very good.
The cover of the new manga version of Grey Ultraman, released on December 15, was newly drawn by Kazuhiko Shimamoto.
Looking back on that year, Aikawa said that after all, it was heisei's first Otter series. At that time, Round Valley could not imagine that "Parvat Ultraman" and "Diga Ultraman" would be released later. Although Aikawa also had a lot of negative emotions at that time, "Although it was his favorite series since childhood, "Eddie Ultraman" was filmed badly, and now he wants to produce a new work", "It is not TV yet", "There are only 13 words", "I have to rewrite the script I wrote myself and let an Australian person rewrite it", but the mood of wanting to do it is far greater than these complaints. It is not to write this work as a tribute to "Otsevin", nor is it a remake of a work, but as a return for the Ott series.
The first 6 episodes of this work are done in the form of 6 endings, which is completely different from the production method of the last 7 episodes, which is also a very rare case in the history of the Otter series, and the second half integrates the ideas of various scripters, and the content is more abundant than the first 6 episodes. Aikawa also hopes that when everyone has the opportunity to watch or review this film, they will feel the changes in the two films in the most direct way. The shooting method of the local production team in Australia is also very novel and free, and as a transitional work, it really has a role in inheriting the past and the future, and its original title "Towards the Future" more fully reflects the historical significance of this work, examining the past and facing the future.
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