Very rarely be recommended when a new film is not finished, "MEGALO BOX" is a bit unbearable.
Of course, the best look is just what I said.
"Whether you stand still or resist – choose tomorrow."
MegaloBOX, the ultimate fighting skill that fuses flesh and "armor technology", begins the bloody battle of the men who bet all of them on it!
Megalulo boxer "JNK DOG", who is also standing in the gambling competition in the unrecognized area today, although he has the strength, he only has the way to survive by making money from the game, and he is anxious about such a "now".
When he meets the lone champion Yongli, as a MEGALU BOXER, as a man, he challenges himself "now"——".
This season's new "MEGALO BOX" is the spiritual sequel to the classic manga "Tomorrow's Father" by Takamori Asao and Chiba Tetsuya, and originally wanted to find a reliable plot summary, but the official introduction is such a middle two. True to write a word of recommendation, although the male protagonist of this game, Joe, is still no better than the predecessors in "Star Cowboy", "Chaos Samurai" and "Exploding Head Samurai", but before "I bald and stronger", the strongest people on earth are all exploding heads!
Mechanical, muscular, abandoned metropolis, burning BGM... For many people, this is probably the new fan that has made people feel the most "happy to watch the second animation" recently. This scum from the Japanese anime information website V-STORAGE interview with "MEGALOBOX" supervisor Yoshiyama Hiroshi, revealing the behind-the-scenes situation during the production, the supervision debut is so wonderful, it is another candidate who must be included in the key list.
Supervisor Moriyama Hiroshi: Try it out with curiosity, this is "MEGALO BOX"
To commemorate the 50th anniversary of the beginning of the "Tomorrow's Father" series, which can be called the top of the youth manga pyramid, an original anime called "MEGALO BOX" was born. Supervisor Yoshiyama has been responsible for scene impression drawings (イメージボード) in works such as Ken Koike's Lupin III: The Tombstone of Daisuke Ojima and Tetsuro Araki's Attack on Titan series, which is the first time that the emerging creator has shouldered the responsibility of supervision. Let's see how he inherited the soul of the immortal masterpiece and integrated it into the background of modern time and space.
It originated in commemoration of the 50th anniversary of the beginning of the series "Tomorrow's Father"
WHAT WAS IT ORIGINALLY THAT MADE YOU JOIN THE WORK AS A SUPERVISOR?
Moriyama: Producer Fujiyoshi said 3 or 4 years ago that I would be the superintendent, but at that time, the project was not called MEGALO BOX, but I knew that to commemorate the 50th anniversary of the start of the series, "Tomorrow's Father" would be animated again. I resigned several times, and the title of supervisor was one reason, and I didn't think I was up to such a big job at the time. But on second thought, regardless of the success or failure of the project, if I need help, I will first participate in and do something. From the beginning of the refining and extension of the original work, it took us a long time to think about the entry points from various angles.
- So how did MEGALO BOX start to be made?
Moriyama: In the process of promoting the project, scripter Katsuhiko Mabe also joined in. Originally, I wanted to dig into the past of the character Force Stone in "Tomorrow's Father", but it did not go well, and the project was suspended for a while. When everything returns to its original point, we wonder why not just not adapt "Tomorrow's Joe" (あしたのジョー) into "Tomorrow's Joe"? Therefore, there was the idea of placing the story stage in the near future era, which gradually formed the current "MEGALO BOX".
——So while inheriting the skeleton of the original work, I will set the stage separately.
Moriyama: That's right. At the beginning, the idea was very simple, "to replace the characters in the original work in the context of the near future, but also to completely inherit the will of the original work."
It is precisely because of the near future as the stage that the "present" can be depicted
——What are the easy and difficult places for changing the stage setting?
Moriyama: Personally, I feel fine. During such a long period of planning and development, various proposals were proposed, but we had one thing in mind that we would never waver in our hearts - no matter how we reenact the story of "Tomorrow's Father", it must be something that we find interesting. It's not about the future to be set up to be unusual. The original work symbolizes the era in which it was located 50 years ago, and it is precisely because of that time that this kind of work has emerged. But on the other hand, the themes and plots it describes are universal and can be felt in any era.
If the "that era" told in "Tomorrow's Father" were turned into a near future, what kind of story would evolve? When I first thought about it this way, the skeleton of MEGALO BOX had already come out. Setting up an alternate era that no one knows about is much more difficult, but it's also fun.
—— The setting is near the future, and it also gives the audience a lot of hints in terms of vision, and the machinery worn on the body when punching can be said to be the most obvious of them. Is the idea of wearing a mechanical device a must?
Moriyama: This is an idea that came up with just to match the setting. Although "Tomorrow's Father" is about boxing, I think it should be said to be a genre of "manga sports" compared to real sports. It not only depicts boxing itself, but also reflects the life and survival of the boxers in the competition. What we want to present is also in this direction, but it cannot be reduced to simple imitation. A little bit of mechanics is added, but it's not purely into a machine battle. The further the project goes, the more we feel that the set of "armor" worn on the body can be called an element for the plot.
——What did Inspector Moriyama experience when reading "Tomorrow's Father"?
Moriyama: When I was a student, I read the original manga. There are definitely more fans of Tomorrow than I am. I also liked the work, but I liked it purely as a funny comic. After that, I watched the animated version for the first time when I was around 19 or 20 years old. I like animation and watch a lot of works, but I actually prefer to watch live-action movies, and I have more experience in this regard. When I watched the animation of "Tomorrow's Father", I naturally felt that I was watching a realistic movie, and I watched it quickly like a drama. It's not so much about watching the anime as it is about watching the anime version overseeing The performance and style of Izusaki, and feeling the power of the original work.
--So in MEGALO BOX, was there a performance supervised by Izusaki?
Moriyama: Not really. It was not much affected by the anime version, but more about digging into the theme of the original manga and then thinking about how to apply it to MEGALO BOX.
--MEGALO BOX made me feel the same "rough and uninhibited" feel as the original manga and the previous anime version.
Moriyama: I think it's thanks to the fact that Mabe,ed. Manbe, who is in charge of the script, is really good. The intention was not to make something similar to the past, the script was to tap into the emotions of the characters as the focus, and the resulting picture became "rough and uninhibited". It's not what it feels like in this day and age (laughs), and I'm not a person who pursues the trend of the moment.
——For those who only watch recent animations, they will be intimidated by the lines of this style.
Moriyama: If I'm happy to shock them, there will definitely be people who say they can't accept it. All in all, now that there are so many animations, wouldn't it be nice to see a painting style that is obviously different?
——The line drawing is very much like the celluloid era, which is obvious in terms of the degree of curvature of the line and the strength of the pen.
Moriyama: I did this consciously, which is probably one of the reasons why people feel that the picture has a sense of "rough and uninhibited".
- The same is true of the depiction of the background.
Moriyama: I wanted to give people the feeling of "this is completely hand-drawn", and I made it deliberately like this.
——According to the experience of Moriyama Supervisor, the dedication to the line is also reflected in this work.
Moriyama: That's the case. To say that obsessed with lines, "Lupin III: The Tombstone of Daisuke of the Dimension" is the teacher of Ken Koike. I think I should have been influenced by him.
It's not enough to talk about it, and it's not enough to not do it
—— Is it also your own opinion in terms of graphics production?
Moriyama: Yes. On the one hand, it is an original animation, on the other hand, its original case is a well-known masterpiece, if you just shout "This is an original project" is not OK, I think it is better to say less and do more. At the beginning, a large number of scene impression maps, human design pictures, etc. were prepared for everyone involved in the production to see, "MEGALO BOX This animation is such a style", to give everyone a directional direction.
- Is the finished product of MEGALO BOX the same as the overseer imagined?
Moriyama: When I talked about celluloid animation, I imagined that I wanted to make it feel like an OVA in the 90s. Not only the style of celluloid, but also the feeling of watching through the old TV, reflecting the image from the picture tube, and the picture processing should also be close to the TV images of the past.
- A little bit of a blur, a little vague.
Moriyama: In practice, you have to make the picture a little rougher. Now the mainstream in the industry is that the picture is getting cleaner and cleaner, and I make the picture dirty and increase noise. Find a perfect balance with the photographer, add filters throughout, and eventually maintain the best picture.
- What did you do about casting?
Moriyama: It's completely up to the sound supervisor, Keiichiro Miyoshi, and I don't know much about voice actors. Miyoshi sensei has participated not only in general animation works, but also in the dubbing of overseas movies, and has a lot of experience. With the idea of "who should be played by this character if you want to make a real person", he looked for various reference materials from film magazines and discussed with me "which voice actor should voice this actor" as a guide to selection. This method is very powerful, and then selected through auditions from the candidates selected by Miyoshi teacher, there is no one who does not fit the role, and then the best person is selected from it to serve as the voiceover.
When I think of MEGALO BOX, I want people to think of both the picture and the soundtrack
——The music part and the world view of the work are very well matched, and the supervisor also found the producer responsible for the soundtrack from the beginning to explain his ideas?
Moriyama: There are influences on both sides, and the choice of Mabanua to take charge of the soundtrack is also because of my personal preference. In the world of MEGALO BOX, what kind of music is flowing in that city? As I pondered this, the tune of hip-hop and black music came to my mind. I hope that when people mention this animation, the picture and the music can be remembered at the same time. For another reason, the music in the anime version of Tomorrow's Father uses folk songs and blues, and I wanted a completely different feeling and chose black music that I like very much. I happened to talk to everyone including Mabe teacher about this idea, and everyone thought it was good, and the soundtrack style went smoothly.
——When the music sounds, it makes people feel that the "dusty" air in the play is coming.
Moriyama: This is thanks to the power of Mabanua Sensei's music. This time the animation is an original work, and it is necessary to depict a world that no one knows, especially in the case of the near future, first of all, time should be allowed for the plot of the story background to unfold. Rather than showing the background and worldview of the story, I hope to make MEGALO BOX portray the characters themselves more in a limited time. How do you explain the worldview in this way? Simply leave it to rap to make up for it, so rap is added to the main part. Although there are also shortcomings in this, through the rap of the characters in the play, the atmosphere of the whole city can be generally reflected. Therefore, rap in this film is not simply a background music, but also plays a role in supplementing the world view.
WHO DO YOU WANT TO SEE MEGALO BOX?
Moriyama: There should be no one who doesn't know about Tomorrow's Father, right? If you are a person who usually watches animation, you must have at least heard the name of this work. When making MEGALO BOX, I did consciously consider the generation that grew up watching "Tomorrow's Father". Then young people who have not been in contact with "Tomorrow's Father" will come to see "MEGALO BOX", and after watching it, they can return to find the original work, which makes me very happy. The older generation and the new generation of viewers, these are two extremes, and hopefully more people can come and see it.
— Please say a few more words to the readers who saw this interview.
Moriyama: Although I'm not good at talking about this era, I can see anything from the Internet and often read my favorite magazines and movies. It's a time when you can make your own choices, and I enjoy it. In contrast, watching TV animation is not a free choice, of course, this freedom does not refer to turning on or unplugging the power. How will the audience feel when they stumble upon MEGALO BOX, which is full of "rough and uninhibited" feelings that they usually do not actively watch in various animations? I'd love to know. "I probably didn't expect that I would like this style of work", hoping that MEGALO BOX will bring such an experience to viewers who are still watching TV animation.
Fuminori Hara: Special Interview No.1 Director: Hiroshi Moriyama "Test Your Curiosity: Megalobox"
https://v-storage.bandaivisual.co.jp/talk/86085/