Author: izumi/Anitama Cover Source: Jojo's Bizarre Adventures, The Golden Wind
"JOJO's Wonderful Adventure The Golden Wind" OP1 was widely acclaimed as soon as it was broadcast, and according to The supervisor Kimura Taidai, who is responsible for the OP storyboarding and performance of the section, the core design concept of this OP1 is closely related to the word "destiny".
Kimura found that the "chain" pattern rarely seen in the original drama abounded in the cover illustrations of the color version of the manga, and after some deliberation, he decided to run the "fate" metaphorically of "chain" into the production theme of OP1.
In the first shot that comes up, Kimura must open with Skleiby's stand-in "Rolling Stones" and the meme of "Sleeping Slave" anyway.
The following contains spoilers, so please read with caution
The Chapter of The Sleeping Slave (Volume 63 of the original monograph) is an episode inserted by Araki Sensei near the end of The Golden Wind about the time bugarati and Joruno met.
Among the characters is a mediocre "sculptor" stand-in messenger Scollibi. The brief plot is that Misda was assigned by Bugarati to track down the prisoner without much effort in the process of investigating the suicide of the daughter of the florist owner. However, when he attacked the other side, he was surprised to see a sculpture of a fatal blow to Bugarati's chest...
At the critical moment when Mista was questioned at gunpoint, the man suddenly and for no reason came up with a theory of sculpture advocated by Michelangelo, "The sculptor is not carving according to the ideas that have been decided in his heart, but presenting to the world the shape of the 'destiny' contained in the stone." Therefore, the stone statue in front of you is only the embodiment of the "shape of destiny", and everything it foretolds is doomed to escape the arrangement of fate. And that seemingly ordinary stone is actually a "strange stone" that appears specifically in front of the person whose death is coming, and gives the person euthanasia and salvation by letting the person touch the stone...
In a sense, everyone who comes to this world for a while will inevitably return to dust and earth in the end. Thus, as far as the ending itself is concerned, all human beings are "slaves" at the mercy of "fate." But the main theme of "Golden Wind" is that even if you are reduced to slavery, there are still "sleeping slaves" who are willing to give in silently and resign themselves to fate, and "awakened slaves" who refuse to wait and die and insist on vigorously fighting to the end, two completely different types. The members of the Bugarati group chose the latter.
In addition to the background mentioned above, according to Kimura, at the practical level, due to the restrictions on rights, the image of the boss is not allowed in "Sleeping Slave". But if the picture of the "Rolling Stone" is really mentioned as the brightest, it should still be visible in theory, and dimming the brightness is mainly based on the consideration of preventing spoilers.
To sum up, OP1 mainly tells the story of the "sleeping slave" (a member of the Bugarati group) who was originally bound by heavy chains and obeyed the boss, and after Joruno joined, he gradually woke up and bravely advanced towards a common ideal.
The above content is not complicated, but when it is really necessary to put into specific production, the scene is faced with a series of problems such as the number of shots, the number of paintings, and the unusable background. Because the members of the initial assassination team had not yet appeared, they had no choice but to use the relatively abstract silhouettes of the members of the Bugarati group.
Moreover, before the OP production officially began, Kimura Supervisor first had to get the publicity PV. Allegedly, the shooting notes explicitly called for "creating an atmosphere similar to 007: Casino Royale". Therefore, Kimura uses the early temptation of dynamic silhouettes to arouse the audience's expectations, and then replaces the character's facial close-up to create a dazzling visual impact.
The initial results of publicizing the PV test water have also allowed the color design and photographic processing policy of the silhouette part to be generally established, and the configuration proposed in the PV stage has basically been used in OP1. The difference is that the step of "from virtual to real" in PV is changed to the complete opposite of "from real to virtual" in OP1, and when processing, the supervision consciously fades and erases the "expression of a slave who is hypnotized by fate and insensitive"...
In addition to OP1, Inspector Kimura greatly appreciates the plot that reverses several times in the 15 episodes, creating a thrilling but addictive experience.
His favorite line is that in 16 episodes, Bugarati's "Arrivederci" (Italian "goodbye"), and the subtitle of this sentence was not added until before delivery, so even the supervisor himself waited until the animation was broadcast to see it for the first time. Kimura also ridiculed that Proschet's "famous sayings" in the assassination team are quite catchy in daily life, such as "using the 'four-dimensional' imagination to do something."
In addition, the wonderful performance of "Underworld Dance" in Episode 7 is also written by Inspector Kimura. Kimura skillfully and euphemistically transforms the torture of Mario Ziquero into a dynamic and playful dance. It is said that as early as the script stage, the supervisor had asked the composer to write a special dance song in order to adjust the script according to the length of the piece. In Kimura's view, if you want the audience to savor the music and dance, you must give at least a full 1 minute of time, and the style should be "the exuberance of the underworld". Once he got the sample tape of the song, Kimura used Storyboard Pro, a dedicated software for drawing storyboards, to draw storyboards against each note.
By the way, "insert advertising", the production site of "JOJO", 3 supervisors all used the software to draw storyboards. Compared with the traditional paper-drawn storyboard, the most significant advantage is that it can be watched over and over again, and corrected at any time.
When he really wanted to draw a dance storyboard, Kimura realized that there were only a few frames of manga for reference in the original work, but at this time, he was really anxious to supervise without any choreography experience. For the next period, Kimura went around the world looking for video materials for live performances and music videos by various artists. Looking around, I still think that the dance style of Michael Jackson, the king of pop, has the most feeling. Kimura referred to every action detail and beat of Michael Jackson, and then put the original pose at the right node, and it took a long time to complete the storyboard choreography of the dance.
Shortly after the torture scene begins, the camera immediately switches to the dance that was just done, and when the dance is finished, it will cut back to the tragic situation after the character was tortured. In this way, it is considered to respond to the producer's earlier request to minimize the bloody scenes as much as possible. However, the supervision also took into account that this forced confession shot is a symbolic depiction of the "underworld habits" of the Members of the Bugarati group, so it is not allowed to blindly "suppress", and after weighing, come up with such a curve replacement avoidance plan.
In order to correctly convey to the audience the harshness of the torture, the footage before the dance, (to the extent permitted by the broadcast review), unabashedly shows the suffering of the characters, and the burning part of the eyes is compensated by symbolic allusions. But if you insert a flame shot in the dance shot, it will be too abrupt, so in the process of traveling, first interspersed with some rainbow color light, and then with a mesmerizing electric rhythm. The final effect is that the nerve paralysis effect released by the electronic sound of the climax part makes the sinister expression of the character struggling with his brow twisted in the previous moment unconsciously endowed with a comical sense of joy.
The difficulty of the depiction of the stand-in in the fifth season of "JOJO" has jumped to an unprecedented height, taking the boss's stand-in "Crimson King" as an example, although there is no barrier to understanding the principle of the producer's attack on the stand-in, but for this part of the content after the implementation of the lens language, whether the completely unaware audience can understand it in the first second, there is still no full grasp, so everyone can only do their best.
In addition, in interpreting the comparison between the past and present of the six members of the Bugarati group, including Fogg, Kimura grasped the main axis of "This is a group of teenagers who were once abandoned by society" to compare back and forth. Among the 6 people, only Bugarati, as the leader, because he received the love of his father as a child, cared for and led his subordinates like an old father in his daily life. And the remaining members of the team, each of them has experienced a past that cannot be looked back. Some of them have abandoned themselves because of this, and some have chosen to retaliate with tit-for-tat. However, after joining the group, he was inspired by bugarati's personality and was awakened to his conscience, which greatly changed his attitude towards the world.
As one of the souls of the team, Bugarati has participated in many battles, large and small, among which The Kimura Supervisor most respects the "Prosut and Bessie War", and from a purely personal standpoint, the Overseer almost can't help but want to cheer for the enemy.
Speaking of future highlights, Kimura asks you to pay more attention to Therrihu's growth. Finally, the supervisor said that he and the production team would stick to the end of the second half with full of morale, and asked the audience to give more support as always.
<h5>Resources:</h5>
《Animage] April 2019
This article is for publication by Anitama only, and no unit or individual may publish part or all of this article in any form.
Official website: http://www.anitama.cn
Official Weibo: @AnimeTamashii
WeChat public number: Anitama0815
Cooperation email: [email protected]
Original: m.anitama.cn/article/352dd3e2daa9c580?utm_source=toutiao