Author: nz-999/anitama Cover Source: Mobile Suit Gundam UC
Adapted from Harutoshi Fukui's original novel and created by Sunrise, the Mobile Suit Gundam UC anime officially began in 2010, spanning four years and ending in 2014 in the form of a full 7-chapter ova. In 2016, the game re-edited all 7 chapters of the story, adding a new op, ed to Nagoya Station, the original TV platform of "Mobile Suit Gundam", and broadcast it in the form of a TV series titled "Mobile Suit Gundam uc re:0096". This time, we may wish to review this work again, and look at the birth of this work and the behind-the-scenes story from the interview between the director of this game, Kazuhiro Furuhashi, and the producer Naohiro Kotakata.
In the early spring of 2008, Naohiro Kogata, a producer at Sunrise Studio 1, was fretting about the planning of the Mobile Suit Gundam uc anime, because with Harutoshi Fukui's original novel, if he wanted to adapt it into an anime, he needed a performer who had a high understanding of the original work and the adaptation to complete the visualization of this work. Fukui Harutoshi, who is well versed in Gundam, has completed the skeleton of "uc", and to adapt it into an anime, it will take a character who can cover these skeletons, and from the many supervisor candidates, Koshina thinks of Kazuhiro Furuhashi.
Furuhashi was still in a studio at Kichijoji, and the first 2 volumes of the uc novel were on the table. Coincidentally, Kota found him, went to the coffee shop at Kokubunji Temple, and discussed it. Kota remembers the conversation between them at that time. In short, the form of "UC" is ova, which is decided in advance, the reason is that it is hoped that the audience of a higher age will be the main target, and around this goal, the planning of "UC" will begin.
When he took on this task, Furuhashi did not feel any pressure, nor did he feel any pressure when he was making the whole 4 volumes of ova "Ranger Kenshin - Meiji Swordsman Romance Tan - Remembrance". If it is completely original, it will be stressful. Furuhashi said that since there is an original novel first, then what to consider later is how to adapt, and the producer will not lose his way.
At first, only 4 episodes and 40 minutes of ova were considered, and Koshika also knew that the ova with only 4 episodes naturally could not fully include the original work, after all, even this was already the limit for the producer. The approach is like a TV series that usually includes advertising, the length is about 40 minutes, in short, the goal is to do so first. Inspector Furuhashi laughed and said that after all, he and others are "old humans", unable to predict the future, and did not expect that it would be 6 years after that.
Although it is not a tiring task in the process of production, the machinery is very troublesome, there are many settings, and the problems are one after another, which makes Furuhashi feel headaches. The end of each word only means a momentary rest. Because I will soon have to continue the production of the next sentence, I don't even have time to look back and reflect. Moreover, the original reservation was still to guarantee two words within one year. After 6 years, the animation was finished, and Furuhashi did not have the feeling of being hollowed out in his heart, but there was a feeling of liberation, and not only did he not lose weight because of the heavy work, but he developed more and more horizontally.
Thinking about it day and night, I often dream of "not finishing the animation", and I always feel that there is something at hand that has not been completed, even if I have slept, it is still no different from when I am awake, and I have been chased by time. Similarly, as a producer, Xiao Zhi is no exception, and after a week or two of doing it, he often dreams of constantly returning to the repair. Furuhashi often dreams of the original painter's time. "This work has been discussed, but more than half a year has passed and there is still no movement, how can this be good?" Such a nightmare has haunted the ancient bridge for 30 years.
UC is Kazuhiro Furuhashi's first gundam series. Moreover, the timeline of "UC" is not up and down in the UC era, so it must be done to carry on the role of the past and open up the future. At the same time, in order to distinguish it from other Gundam works, you have to show your own originality, on this point, first of all, the novel of the original "UC" can be regarded as a large novel, the animation can not be done to describe all the elements in an all-round way, and the biggest role of supervision is to act as a "decision-maker", which means to make trade-offs for the original work. What remains is something that no other Gundam work has, and that is the originality of this work.
As for how the story should progress, Furuhashi sees it as a "puzzle-solving" process, "What is the 'Box of Laplace'?" Around this setting, on the way, through the "Baragi's identity" and "who is Audrey" these questions revealed, and finally unravel the whole picture of the story. On the one hand, it cannot be pretentious, on the other hand, it cannot be fully presented, and the performance has set up an organ that only appears once, as an ova, only repeated audio-visual can start the effect.
For Furuhashi, the actions of the ups and downs, the acting skills and expressions accompanied by the sense of reality, the heartfelt emotions, the performances and behaviors that are naturally made because of the feelings, and the resonance generated by the music will produce a sense of substitution, which will also change the perspective of the narration. "Uc" is hymned by "The Gundam of the Grown-ups", so it is more important not from the perspective of the protagonist, so it can be seen from the perspective of the adults around banaji. Chapter 1 is Cartias, Chapter 2 is Dr. Hassan, Chapter 3 is Taksa, and Chapter 4 is from Captain Chennaiman's line of sight. The performance is also controlled to let the protagonist transfer his feelings to others as much as possible. In theory, this is an extreme creative method, but in such a situation, only "physical" techniques can be used to eliminate "obstacles".
Regarding the mechanical part, many of them are inherited from the original "Mobile Suit Gundam" and the theatrical version of "Mobile Suit Gundam f91", which is the place where Genma Nobuhiko, as the chief painting supervisor of the machine, is extremely particular. After all, the stage of "uc" is from the beginning of the universe century, so it is impossible to completely separate from these settings that have been completed in the past, and this aspect is mainly controlled by the mechanical design of カトキハジメ and Genma. Of course, Furuhashi himself personally corrected some details in Chapter 1, changing the wreckage of Kira Deca to Zagu, and Muse adjusted the position or something. The opening scene of Chapter 7 amx-107 Bau fusion is also, a bit of a "Mobile Suit Gundam zz" combination scene, which is to inherit the past and the future, not simply a tribute.
In the view of Furuhashi Supervisor, Banaji, as portrayed in the play, is an honor student, in real life, even if he is around, he will not be annoyed, and everyone likes the genre. The disadvantage is that it is immature and not sophisticated, but also has a little bit of secondary taste. In the anime, the discerning person can understand what kind of character he is. But a character like his is not very resonant to modern young people who confuse themselves with Banagi and cannot resonate. After all, the video works are more superficial than the novels, but Furuhashi said that the voice of Aung Hui Uchiyama, who voiced Banaji, made up for this, and Furuhashi was grateful for Uchiyama's acting skills.
Banaji did not grow from beginning to end, and the adults around him looked at the unchanging Banaji, how they thought in their hearts, and what kind of actions they took, which is the entry point of "UC". From the tapestry of the unicorn, Banaji's position has been made clear, and it plays a role in reconciliation. Banaji will accumulate experience, but his essence will not change. He reminds the adults around him of what he has lost, acting as a catalyst.
ForeFrantto is a transcendent, and Furuhashi wants to portray him as a character with an "unpretentious personality", for which Angelo will indulge in him. Furuhashi and fukui Harutoshi's ideas are different, Furuhashi does not want to clarify in the play whether Fur Franto is Xiaya's return, this is not important, I hope that the question will continue to be so "vague". He tried to break down Banaji not only by force, but also by reasoning. Facing this impeccable man, who is above the apex of all abilities, this is also an unsolvable problem for Banaji, who is the protagonist, and Furuhashi also hopes to leave this question to the audience for thought. Shuichi Ikeda's acting skills are more in line with Fur Franto, even in an empty environment, can make people feel his huge "sense of existence", which is also the image of Furuhashi's pen. Even in an entertaining work, his setting is not perverse. Since it is a "Gundam work for adults", it needs to mobilize the rational thinking of the audience at the climax of the plot, but even so, it should not be too blunt and need to be moderately adjusted.
In the early days, Furuhashi had a plan to prevent Lidy from shooting Marytan, but now this is the most ideal ending for Furuhashi. The character of Lidy plummeted and vomited and said shameful lines, which made people feel heartache. However, considering that Lidy was also eroded by nt-d, Furuhashi chose to forgive him. Banaji, too, buried Gilber with his own hands, and no one condemned him. Captain Akama's crew were all good old men.
Maritan also affects the development of the plot, and the creators led by Xiao Zhi also struggled for half a day on the issue of killing or not killing in the final chapter. Since she runs through the entire series, it's easy for viewers to focus on her. As for the plot of her guarding the quasi-Akama, it is said that the distance is 150 kilometers, and we cannot see her performance, but the elements of fate embodied in her body have to make people feel the impact of her departure. Furuhashi himself didn't have any particular fondness or dislike for these characters, and the narrator who showed his face slightly on The Bridge of La Kailam in Chapter 4 was his favorite, nothing more.
At the age of 14, Kazuhiro Furuhashi first came into contact with the sci-fi anime "Space Battleship Yamato", and watched the original "Gundam" four years later. Although it is a war drama, the overall bright atmosphere has always remained in the heart of Furuhashi. For himself what Gundam is, Furuhashi has been thinking about this question, but it is difficult to draw a conclusion.
In fact, before the launch of "Gundam", Furuhashi went to the home of Naoyuki Kato, an illustrator at studio nue, to discuss the future direction, Kato and him said, "There is such a work to start", Furuhashi also heard that the threshold of this article is relatively high, but after watching the first episode, it seems that it is not as shocking as others say. And in the process of watching, the relationship between Chaya and Amro touched him. Seemingly serious war films can always make people feel warm, and Furuhashi is deeply moved by this work that reflects human nature.
Furuhashi believes that not only is this the credit for the script and performance, but also the music of Watanabe's music. Bring emotions through music. It can be said that it is the ideal type of background music in Furuhashi's mind. Compared with "Yamato", all the elements are very balanced, people are in a good mood, you can call such works as "miracles", and like "Yamato", they occupy a very high position in the hearts of Furuhashi.
Furuhashi first saw superpowers when he was in the sixth grade of elementary school, and he watched Yokoyama's manga Babylon II, so Furuhashi didn't find it unusual for a setting like "newtype". This type of foreknowledge ability can be understood as an exchange for fighting for your life on the battlefield. Although Furuhashi re-watched the theatrical version of "Mobile Suit Gundam III. Meet in the Universe", in the section about newtype, Furuhashi believes that the TV version of the newtype is more realistic, portraying such possibilities in the most beautiful form.
More than 30 years have passed since coming into contact with "newtype", and in a specific period of time, Furuhashi can also experience that short-lived state, and the mutual understanding between people is actually extremely limited. Not only in today's online society, if everyone confides in reality, the world will become a mess. Since what we are going to do is an entertaining fantasy work, these ugly parts can only be used as a concoction, because what we really want to convey to everyone is "hope". Everyone's heart is inhabited by momentary splendor, and it is precisely because it is fleeting that it seems precious, and what we pursue for a long time is reality, not fantasy. The work itself is also more important to the process than the result, which has a subtle difference. The word "passion" runs through the play, and Banaji struggles, "Even so, we..." finally free the confused soul and disappear. Although such an ending feels a bit cunning, this is the role that he needs to fully reflect as a newtype.
If the relationship between oldtype and newtype is explained by the change of time, Furuhashi said that just like the father-son inheritance, there are various forms, and this work can be said to be the ending of "Meet in the Universe" to be re-played.
As the final chapter of the whole drama, the seventh chapter "On the Other Side of the Rainbow", Furuhashi believes that the biggest attraction is all the lines of Saiyam with Ichiro Nagai and the unicorn's final move "soft chest touch". As far as the robot battle film is concerned, it can be described as "no one before and no one after the ancients". Plus the overall selection of songs. Image of the new Jean traveling through time. Murase Shugong's super-shin original paintings made Kazuhiro Furuhashi feel excited, and here it is all in charge of the Middle Zhang of the Japanese mainland. I am more aware of the visual performance of the big picture effect, and the experience is like a playground amusement facility.
As a producer, Kodami's favorite is the fight scene between the New Jean and the Unicorn Gundam. Armed duels. Furuhashi revealed that the last unicorn used a hand knife for the protection of the joints, not to imitate the golden warrior Gold Lightan. This scene made Xiao Zhi feel suddenly cheerful.
The multiple arms of the new Jean are not armed with combat wrists, but are mainly aimed at obliterating the opponent's will to fight. It has the size of Nakano Sun Plaza. Immovable like a mountain. Moving is faster than the mourning banshee, enough to make the opponent feel frightened. This section is a shin-super-original painting by Takatani Hirotoshi, and it is also accompanied by a middle sheet in charge of japan. The small shape indicates that robot animation should give priority to refreshing pleasure.
Spanning 6 years, "UC" takes the form of "boy meets girl", but it is not the same as the general love story. In the first chapter, Banagi's encounter with Audrey gives Banaji the idea of working hard for her.
Furuhashi said that this is only a superficial appearance, in fact, this scene alludes to war as a "lair". The horror of losing the "lair" and the urge to fight. From Audrey's words, who wanted to prevent the war from happening, Banagi felt his mission in his heart. This goes beyond personal feelings of love and is the bond of the soul. If there is no such relationship, they will not resonate with each other when they see the "Lady and the Unicorn". Looking at this painting "The Lady and the Unicorn", 4 of the 6 pictures are of the noble women looking at the unicorn, and the other 2 are the noble women touching the unicorns. So in the beginning, the lion, that is, Lidy, who drove the mourning banshee, had no chance of winning.
Although this is only Furuhashi's personal explanation, he believes that Banaji's encounter with Minerva is not accidental, but inevitable. Even Furuhashi believes that the image of Banaji is the crystallization of the thinking of the inhabitants of the earth during the actual hundred years of the universe, and the desire to end the war. Minerva is the crystallization of the wishes of the inhabitants of the universe. The jewels taken out of the cabinet are named "real", and although the expected blueprint is completed from the result, cherishing this process is the greatest treasure, and there is no more wonderful composition than this.
Finally, Furuhashi said that the father had only one wish for his children. Furuhashi, who was not yet a father, placed this desire in this work—"Imagination is the source of endlessness." "Please open your eyes and savor this work again."
anime！ anime！ : From the beginning to the end of "Mobile Suit Gundam uc", Director Kazuhiro Furuhashi, Producer Naohiro Kogata Interview part 1: Part 2
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