Nakashima put in a small trick into the final episode of the final episode trailer he said "will trigger be able to complete the final episode" and that really lit up a storm with Japanese fans on twitter they sent trigger a lot of encouragement that they can do it, they can finish the episode, and that they can fight thru it. We follow all the hashtags as well as see what tweet rates are with hashtags. So we looked at twitter and I am sure American fans of other shows such as American TV, do simul-commenting with hashtags as the show is being broadcast. We really take twitter and other social media very seriously as a part of promotion, as well to see fan reaction especially right after broadcast. Toba: There is a large population of Japanese anime fans who are on social media twitter and any other sites, so there is a whole lot of information that fans give out and receive. How social media has played a role in helping anime in spreading the word or giving you guys ideas? Toba: To be serious the trippy aspect is something that director Imashi had hashed from his file you can see that in the second part of the Gurren Lagann movie in addition to Panty & Stocking with Garterbelt, which isn't our work, that kind of "trippy-ness" is signature Imashi. Also as work progressed, I submerged myself in the influences of the mushroom so that I would turn my self into a mushroom body. Nakashima is very well versed in, so there are a lot of characters that are inspired and play homage to those period characters. SUSHIO: The inspiration for the character design certainly come from all the anime that I was fond of as a child, as well as the 70s manga that Mr. What inspired the crazy and outrageously delicious art style? We think it's magic mushrooms, but what inspired the style and what are some of the influences on this style? Nakashima: I think it would be more proper to do rendition of cosplay that would be more accurate or faithful to the anime rendition and perhaps North American cosplayers may have a figure more appropriate for that effect. In America there is a lot of controversy surrounding in the anime community about how revealing costumes are when people try to cosplay in order to make them authentic. There is an inspiration that comes from a science-fiction novel Garments of Caean by Barrington J Bayley and this story is about sentience apparel and we expand on that and turn that into sentient combat apparel that would be worn not only by humans, but all sentient life on Earth so that's the science-fiction element I incorporated. Nakashima: There is a certain troupe in Japanese anime where all the combatants are in uniform like Sailor Moon, but if you expand that idea you have combat clothes which makes you wonder what it means to have combat-ready apparel. Some people have seen it as something allegorical or symbolic, and I was wondering if you could talk about your intention with them because they get used a lot during the second half of the show. I want to ask about the concept of the life fiber. They were very confident that they could come up with first-grade work of entertainment without going with the popular flow. Toba: As a producer I will say that one intent of Kill la Kill was not to cater to market trends and this was an intentional decision made by the three core creators Imashi, SUSHIO, and Nakashima. SUSHIO: There was an anime show called Mashin Hero Wataru that I had been particularly fond of during my childhood and it was the excitement of watching that show that I wanted to give back to a contemporary audience. In Kill la Kill we decided to go without having a central theme to improvise everything in development and see how far we can go in terms of turning that into a work of entertainment. This is in contrast to the previous show that we worked on Gurren Lagann because that was a story about the growth of a boy into manhood. We wanted to impose the challenge of translating what we were fond of about the old school anime and make that palatable to a contemporary audience. Nakashima: The challenge for us with Kill la Kill was that we grew up watching anime was very fond of old school style. Where there any particular challenges that you faced in the development of Kill la Kill? We may have high school age characters in fourze, but they could not engage in fist fights where as Kill la Kill is not rated for children, so I was completely free to have heads flying off, arms and limbs getting maimed. Nakashima: One of the major differences especially in comparison Kamen Rider Fourze and Kill la Kill is that Kamen Rider is a children's show so it comes with a different rating and so there are certain depiction of violence and cruelty that you can't include. Is it any different writing for a tokusatsu Kamen Rider Fourze than for an anime like Kill la Kill?
0 Comments
Leave a Reply. |