Sunday, December 16, 2007

井上雄彦NY现场壁画

之前犹豫要不要买他那本water画集的,看到这个后决定还是买!!本尊长的很阳刚啊,和slam dunk里的热血男儿一个模样。

转载转载,原新闻来自Anime news network,翻译by南方动漫网。

井上雄彦献给纽约漫迷惊喜!黑板画后水墨画!














继2004年创下“连续24间高中教室黑板漫画”的空前创举之后,知名漫画家井上雄彦在16日飞抵美国纽约,受邀在全新开募的纪伊国书店花了3天时间亲笔绘制了三幅《浪人剑客 Vagabond》巨幅水墨壁画!

这是来自《Anime News Network》的新闻。日本知名连锁书店纪伊国书店为了庆祝座落于美国纽约Bryant Park的纽约市旗舰店将于19日开幕,特地邀请国际知名漫画家井上雄彦为店内2楼空间的3面墙上作画。其实,会邀请井上老师前去共同开幕还有另外两个原因:第一个,是正在北美发行的《周刊少年Jump》漫画杂志官方英文版确定将以全彩+二色印刷的方式于12月开始连载《灌篮高手》英文版,第二个原因,则是北美知名漫画代理商Viz宣布将在2008年7月正式发行《REAL》英文版漫画单行本。

这三幅水墨壁画,总计花了井上老师3天时间完成,并且顺利在19日的纪伊国书店-纽约市旗舰店开幕式典礼中正式公开。想观赏其他更多照片请参考《Anime News Network》新闻。除此之外,井上老师也愉快接受记者专访。

专访重点摘录如下:

1. 虽然《灌篮高手》表面上是个篮球漫画,但井上雄彦真正要传达的是一个人如何藉由参与某项运动而从中获得体验与成长。

2. 井上雄彦高中时期参加过篮球校队,但自嘲球技并没有很好。即使《灌篮高手》连载完结之后,他的球技还是没有多大进步(笑)

3. 提到日本首位进军NBA的职业球员田卧勇太,井上雄彦对他充满尊敬与敬佩之意。

4. 决定推出纯黑白色调的浪人剑客画集《墨》,井上雄彦认为跟今日主流的彩色画集相较之下,《浪人剑客》惯用的技法使他更能够完美诠释每张画稿。所以井上雄彦才会在推出彩色画集《WATER》之后,坚持一定要推出这本黑白画集。

5. 井上雄彦是应坂口博信之邀而对XBox360最新游戏《Lost Odyssey 失落的奥德赛》进行游戏人物设计。

在受访的最后,井上雄彦表示“当你画漫画的时候,你总是必须坐在桌前一个劲儿地作画,更何况我已经持续这样好多年了。而这里(书店的墙壁)则是给予我一个前所未有的作画环境,瞧、一个超大画布!这样的变化有助于刺激我诸多灵感,而且这些新灵感将能够在我打算进行下一部新作品时派上用场。大师的一举手一投足,满是风采。住在New York的朋友们可别忘了前往那家位于Bryant Park的旗舰店、亲眼目睹大师画作啊!

Thursday, November 08, 2007

Ponyo theme song



Ahhhh, the gold fish princess is SO CUDDLY AND CUTE!!

Miyazaki's gonna recreate the magic of My neighbour the Totoros!

Wednesday, September 05, 2007

Shinkai



After watching the cast interview for 'the place promised in our early days', I have a better understanding of Shinkai's aesthetics. Not a whole new understanding revealed in torch light, but rather an reinforcement of the elements that are already evident in his movies.

He said he used to stare out of the railway train for hours and hours wanting to catch everything. There's always something new to see. So he was bound by a nostalgic childhood scenery that becomes an recurring motif. I guess there is indeed something wonderful and meditative about rusty railways nestled quietly in road grass, appearing blotchy and flickery under warm sunlight. The place isn't for trespassing, except when trains whoosh through with the old chunky chunky rhythm. The two parallel lines could lead you somewhere, might be better than where you stand. Most of all the air smells of a slightly baked summer.

Opposed to a preformed image I have of him, shy and taciturn, Shikai is actually rather outspoken and he talks in 1.5x average human speech pacing (make it 2.0x when he gets carried away). Still I look at him and couldn't help thinking, this's a sensitive guy who makes feminine, monologue movies where voice overs make up for the lack of actions or a solid story plot. Sometimes I wonder if this 'shortcoming', which forwards itself as a trademark rather than an outstanding defect, can be easily brushed aside. There's no limitation to the type of medium a director chooses to fulfill his artistic needs, but there seems to be too much abandon in the code of free expression. It's the same thing when I look at modern art. The spotlight is on 'the concept' while traditional craftsmanship, the solid skills easily slip unnoticed. Call it heavy make-up?

It would be better if Shinkai could do more than a bunch of nostalgic feelings and pretty screensavers.

Sunday, August 26, 2007

Byousoku 5cm | 秒速5センチメートル

Info@Anime News Network

For fomality's sake, here's the introduction. Byousoku 5cm (or 5cm per second) is a chain of stories composed of 3 episodes telling a romance story of two childhood friends growing apart geographically because their parents are on constant move but they never stop seeking the shadow of each other. The ending is rather maudlin and sour.

If you're familiar with Makoto Shinkai(the director), his story-telling is very introverted and is based on a large amount of soliloquy pouring out melancholic thoughts for the loved one. Byousoku 5cm is what I take to be very personal and might work effectively for teenage audience who share an experience of tender love, but technically and stylistically, this production is a stand still compared to 'the place promised in our early days', his previous animation feature movie. Background design bears the trademark of soft warm light, classrooms, cherry blossoms, panorama views of grasslands swinging in the wind, all matching well with his romantic slash but none of it goes to his credit. You can't possibly pull the old tricks tirelessly without dulling my senses. Too much sentimentality can be a deadly weakness. At least I don't want to see the wine brewing and brewing till it turns vinegar.

The movie is best summed up in the ending song, some 7min long clip which succinctly concentrates the essence of all 3 episodes.

'I've been looking for you everywhere, in places where I know you don't exist. ' There's something heart wrenching about our foolishness in holding on to an ideal that remains an ideal. We so often refer to such relentlessness as 'youth', thinking it's untainted and beautiful.



Lyrics from Hunting the Elusive

One More Time, One More Chance
Writing: Masayoshi Yamazaki
Arrangement: Toshiyuki Mori
Transliteration and translation: daike
Translation support: Emma
Translation edit: icie

How much more do I have to lose, before my heart is forgiven?
How many more pains do I have to suffer, to meet you once again?
One more time, oh seasons, fade not
One more time, when we were messing around

Whenever we disagreed, I would always give in first
Your selfish nature made me love you even more
One more chance, the memories restrain my steps
One more chance, I cannot choose my next destination

I’m always searching, for your figure to appear somewhere
On the opposite platform, in the windows along the lane
Even though I know you couldn’t be at such a place
If my wish were to come true, I would be at your side right away
There would be nothing I couldn’t do
I would put everything on the line and hold you tight

***

If I just wanted to avoid loneliness, anybody would have been enough.
Because the night looks like the stars will fall, I cannot lie to myself.
One more time, oh seasons, fade not.
One more time, when we were messing around

I’m always searching, for your figure to appear somewhere
At a street crossing, in the midst of dreams
Even though I know you couldn’t be at such a place
If a miracle were to happen here, I would show you right away
The new morning, who I’ll be from now on
And the words I never said: “I love you.”

***

The memories of summer are revolving
The throbbing which suddenly disappeared

I’m always searching, for your figure to appear somewhere
At dawn on the streets, at Sakuragi-cho
Even though I know you couldn’t be at such a place
If my wish were to come true, I would be at your side right away
There would be nothing I couldn’t do
I would put everything on the line and hold you tight

I’m always searching, for fragments of you to appear somewhere
At a traveller’s store, in the corner of newspaper,
Even though I know you couldn’t be at such a place
If a miracle were to happen here, I would show you right away
The new morning, who I’ll be from now on
And the words I never said: “I love you.”

I always end up looking for your smile, to appear somewhere
At the railroad crossing, waiting for the express to pass
Even though I know you couldn’t be at such a place
If our lives could be repeated, I would be at your side every time
I would want nothing else
Besides you, nothing else matters

Wednesday, July 11, 2007

Satoshi kon's Paprikia

Paprika Official Sony Picture Site



US. Theatrical Trailer


Paprika literally means a spice made from grounded red bell peppers (ref. wiki).

'You can't tell dream from reality' has been a signature motif of Satoshi's kon's films. Paprikia is a come-back of Paranoia Agent.

Skipping over synopsis and trivia, there's something else that interests me. I can surely smell Shinichiro Watanabe! But can it be he has anything to do with this film?? The old cast of cowboy bebop is back and I'm glad I can distinguish their voices without peeking at the credit. Dr. Chiba is voiced by Megumi Hayashibara (Faye) and Dr. Osanai is voiced by Koichi Yamadera (Spike). Take a close look at the character design of Dr. Chiba who looks like a female version of Jin (Samurai Champloo) =D The heavy appearance of parades and dolls, and extensive philosophical quotes draw you back to Ghost in the Shell. Deja vu?

The opening credit is absolutely enjoyable. You see Paprika dashing between dream and reality, blending into objects and appearing from thin air. Detective Konakawa's reoccurring dreams retold in slightly different twists and progressions is another notable highlight. His rendezvous at radioclub.jp bartenders who brought a final message from Paprika closed the film perfectly. After all, it's a Satoshi film which means it's another provocative approach to acute social problems and human emotions. Although I'm not sure with the term 'superflat', I think Satoshi's manipulation of animation to deal with consumerism culture is a forerunner of such motif.

And yes I'm very touched when the ghost of Chiba reveals her love for Tokita, a bear sized fat genius scientist who invented DC mini. Unconventional but sweet!

But again watching Paprika is a head spinning dream experience since psycho patients are talking gibberish and there're absolutely no rules in dream states. That's why animation's probably the best medium to express it!

All photos are taken from Paprika Sony official site. Credits go to the artists and sony picture classics. (This movie is rated R)


Konakawa's dream in which he was caged on a circus stage and a crowd bearing his face swarmed and screamed his name.


In the finale, a void appeared connecting dream and reality. The world was greatly disturbed.


Director Shima's subconscious world was invaded by a big parade. And look at that doll?! Doesn't it look similar to GITS the movie? I'm compelled to conclude Japan is a doll fetish nation...


more dolls and cyborgs


Paprika venturing into a deserted site


I love how Paprika's dressed up in spicy red with that classic oldie hairdo!


Dreams and butterflies ALWAYS go together. Talking about creativity people!!

Thursday, May 17, 2007

我们这一家

Sherry介绍的一系列动画片叫“我们这一家”,超级搞笑的家庭笑话。那一家人姓“花”,花家有两个小孩,姐姐叫“橘子”,弟弟叫“柚子”。妈妈长得像恐龙,爸爸像狗熊。搞笑的不行,还蛮有生活哲理的。而且我觉得很多事情自己也都有相同经历,特别是剪头发,买衣服和备考那几集,哭笑不得。强烈推荐!!



Youtube上搜繁体的“我們這一家”,台湾配音,配的很可爱。

橘子的小睡时间(相信大家都有强烈共鸣)



================
动画资料存档 (原文 这里)



== 漫画==
《我们这一家》(あたしンち;ATASHIn'CHI)是日本一部以小家庭成员为中心,表现出日常生活中所发生大小事为题材的漫画与动画作品,原作者为Eiko Kera(けらえいこ)。

最初自1994年6月起,以多段四格漫画组成一回,每回共23格的形式,在《读卖新闻》的星期日版以全彩方式连载,直到2006年3月为止;作品受到不同年龄层读者的欢迎,并于1996年获得文艺春秋漫画奖,2002年获得手冢治虫文化奖。单行本自1995年开始由MEDIA FACTORY出版,目前出版至第12册(至2006年11月)。中文版由东立出版社发行,台湾、香港目前均出版至第12册(至2007年2月)。


== 动画与剧场版 ==
电视动画版于2002年4月开始在朝日电视台播放至今,每周六播出一集,目前已经播出208集(至2006年12月);台湾的台视、东森综合台与中视,以及香港的无线电视儿童台与翡翠台(2006年12月起在《放学ICU》中播放)也先后播放过电视动画版。另外并由东映制作剧场版《映画 あたしンち》,于2003年12月在日本上映(不过由于票房不如预期,因此至今未有再次制作剧场版的计划),台湾预定于2007年2月9日上映。


== 情节简介 ==
花家,居住在东京近郊城镇,个性看似互异却又有著些许共通点的一家四口,就像是众多小家庭的缩影。不管是家庭当中的生活百态,与同学、友人…等周围人们的日常互动,或是个人的心情起伏以及对事物的各种感受…一个又一个贴近日常生活,平凡中趣味横生的大、小故事持续上演著…。


== 花家 ==
* 花妈(母 配音:日本→渡边久美子;台湾→王瑞芹;香港→雷碧娜)
九州人,标准的家庭主妇。个性相当拚命而固执,总是对一些鸡毛蒜皮小事极为在意,还会为此和橘子、柚子争论不休。坚持“能省则省”的原则,十分贪小便宜和讨厌浪费,不管是吃的、穿的还是用的都不例外。此外也经常将自己的行为合理化(特别是在被人发现自己言行不一时);对于事物的情绪和动作反应有时也非常夸张。不过倒是经常表现出对爸爸特别在意或包容的心情。

* 花爸(父 配音:日本→绪方贤一;台湾→孙中台;香港→陈永信)
九州人,中年上班族。个性沉默寡言,我行我素,行事作风上有著传统的大男人风格。平日忙于上班与应酬,对于其他事情总是兴趣缺缺,不怎么关心。不过,对于妈妈的奇特或夸张行为,却经常抱持著看笑话的态度,当作娱乐看待,事情影响到自己的时候才会突然生气,而且变得没有耐性和暴躁。有不少怪癖,像是上厕所不关门、酒醉回家后随便打包家里的东西准备丢掉、喜欢把饭碗放在比饭碗小的东西(像是酱油瓶)上等等。

* 橘子(立花みかん(たちばな みかん) 配音:日本→折笠富美子;台湾→林美秀;香港→林元春)
高中二年级学生,由于个子比较矮小的缘故,曾被人误以为是初中二年级学生。个性大而化之又带有一点迷糊,有很多天马行空的梦想,也很喜欢自己一个人做白日梦。经常因为在一些小事上和妈妈意见相左而斗嘴,有时也会因为某些事情而被弟弟抱怨。因为喜欢泰迪熊,所以加入了学校里的“泰迪熊研究社”。

* 柚子(立花ユズヒコ(たちばな ゆずひこ) 配音:日本→阪口大助;台湾→雷碧文;香港→周文瑛)
橘子的弟弟,初中二年级学生。个性细腻、害羞而纯朴,有著深奥的内心世界而很少说话(没有说出来的“内心话”特别多),有著较他姊姊成熟的思想,不过也经常会被妈妈和姊姊有意或无意的行为、言语刺伤。看到妈妈和姊姊作出一些在他看来相当怪异的举动时,暗地里常会戏谑地说“没救了”,而相比起橘子,他是一个十分爱整洁的男孩。因为觉得同班同学石田百合的一些奇怪动作很好笑,所以对她有点好感。非常喜欢听音乐,也有一位喜欢的偶像,名叫丸野丸美。

== Links ==
MEDIA FACTORY我们这一家漫画单行本列表 (日文)
朝日电视台官方网站 (日文)
Shin-Ei动画官方网站 (日文)
Eiko Kera(けらえいこ)网站 (日文)
木棉花"我们这一家"介绍网站(正体中文 - 台湾):第一季第二季剧场版
东森电视第一季介绍网站 (正体中文 - 台湾)
台视介绍网站 (正体中文 - 台湾)
中视介绍网站 (正体中文 - 台湾)
批踢踢BBS我们这一家讨论区 (正体中文 - 台湾)
香港Uwants讨论区我们这一家讨论区 (繁体中文 - 香港)

Saturday, April 21, 2007

咎井淳 (Jo Chen)

很早前就接触了这个漫画家,曾误认为是个韩国人,后来又误认是日本人,原来是台湾同胞。看了半天“他”的作品发现,啊??原来是“她”!标准一个美女画家。这一连串的误会大了,不仅仅是我个人这么认为。这也算是偏见吧,谁说好的漫画家就一定要在日本了,又谁说画少年漫的都是男的了!初识咎井淳大概是高中,很欣赏她网站上贴的几张铅笔素描,洗炼的笔法让人觉得执笔的定是个性格分明的人,筋骨突兀,画的相当流畅且有力道。后来有这么一两年没关心过这个人了,最近看到新动向,似乎她在美国市场也打下个小天空,开始兼职画插画。像Buffy the vampire, Runaways几部有名的卡通杂志都是她负责画的扉页,最有名的是Fable游戏的封面设计,算是她在美国观众中的立名之作。Sherry看到后惊讶不已,继而愤愤不平说“NND,Fable是她设计的!”。愤愤不平有几个原因:性别误解,当意识到作者是和自己一般的女性时有强烈的反差和挫败感;再来,对于一个亚洲人单枪打入欧美市场觉得是很了不起的成就;又,问及咎井淳芳邻,和我们是同一辈的,绝倒!敢问你现在在做什么,人家在做什么,画功上的差距需要多少光阴填补??

黑白画来说印象最深的就是她的透视,很不寻常的取镜角度。牛逼的漫画家最喜欢画超难度的死角,标新立异的同时毫不掩饰的向你炫耀“怎样,你画不出来吧?”。采访中她说,她也没怎么练习,透视是天分,这更让人受刺激!

贴些资料和图上来。



笔名:咎井淳
外号:G.P、饭桶
籍贯:浙江省诸暨县
学历:复兴商工毕业,目前在NORTHERN VIRGINIA COMMUNITY COLLEGE学习正统美术。
生日:7月4日
星座:巨蟹座
血型:容易紧张的A型
个性:少根筋、冒失、一着急就开始胡言乱语、乐天,但有时会为无聊的芝麻小事钻牛角尖、容易想入非非、喜欢倒胃口的话题
嗜好:听摇滚乐、弹吉他、看电影。
如何进入漫画界:同人志
首次发表处女作:《无聊剧场》、《维纳斯童话》(金星战记同人志)
最欣赏漫画家:安彦良和、多田由美
愿望:儿时想成为漫画家,现在想成为暴发户
最喜欢的运动:曾经喜欢篮球,现在偏好不动
最喜欢的音乐:CLASSIC ROCK(60-70年代)
最喜欢的歌星:NUNO BETTENCOURT
最欣赏的影星:艾尔柏西诺
影响最深的人:姐姐
最喜欢的颜色:黑、蓝
最喜欢的服饰:T-SHIRT、牛仔裤、靴子
主要作品:《镜子的另一边》

Links












专访漫画家咎井淳 (摘录自东立星少女1998七月号)

颓废风吹袭漫画界,跳槽到商业志的同人漫画家咎井淳,刚出版的首作《镜子的另一边》,也采取颓废风,内容描述一对在纽约黑街相遇的落魄情侣,同病相怜的故事,画风充满冷冽的色彩。

亲眼见到咎井淳时,觉得她和这种超酷的风格完全不上线。长发及腰、身上还穿着件超人T恤的她,话匣子一开,遍劈哩叭啦的停不了口,丝毫不见作品里阴沉的气氛。怎么想到这么严肃的题材呢?咎井淳自称是:"为赋新词强说愁',耍酷而已。"

从国小便开始画画的咎井淳,国中便混进同人界,二十三岁的她,还是同人社团"秘密结社"的正式社员。"其实,我以前都画打杀搞笑的少年漫画,最喜欢的是安彦良和的《金星战记》、《亚利安》,《钢弹》之类少年漫画,即使中学时上了女校,没有女同学要鸟我的作品,我还是爱画。"连她也没想到,日后她竟然会以冷冽画风发表商业志。

从同人创作者跃上商业志,有何不同呢? "专业画家有稿压,我曾边哭边赶稿,虽然赶出来后心里会很爽,毕竟还是不一样。"因此咎井淳建议同人志玩家:"要恶搞就要彻底,能玩的时候尽量玩!"虽然被爸爸骂虚荣,她还是从美国搭飞机回来举行签名会,移民已有五年的她,和漫迷们面对面时,紧张的连名字都签错了,让签名会拖拉了超长的时间。

想看看镜子的另一边有什么吗?咎井淳邀你来分享一个同人画家的成长。
星少女专访
文:张正颖

上午11点,咎井淳踏着轻快的脚步迈进编辑部,穿着一件简单的深色上衣、一件LEVIS牛仔裤,背着一个小背包,提着一个大画袋,一头长发随着她走路时特殊的节奏微微飞扬,大大的眼珠闪着点点亮晶晶的光芒,对于这次访问似乎相当的兴奋,这样的"咎井淳"形象和小编的想象中那个画风透明冷冽,空间感十足的"咎井淳",几乎无法作同一个人想象。但从她闪亮眼神中暗藏着的沉稳中,似乎又隐约看到了"镜子的另一边"的影子。


小编:"咎井淳",我一直觉得你的名字很特殊,有什么特殊的意义吗?
咎井淳:哈哈,这个名字是翻字典凑出来的!!因为当时我相当喜欢上条淳士,所以那个"淳"就是上条淳士的"淳";而"咎"这个字......我很喜欢它,觉得这个字很美;至于"井"嘛......,因为当时不知道"咎"、"淳"这两个字该怎么连接,于是我姐姐说"就用‘井'字连接吧!"这就是我的比明"咎井淳"的由来。


小编:刚开始我还以为"咎井淳"是个日本人。
咎井淳:变成很像日本人的名字;我也是史料未及的。(哈、哈)其实,我父母是有"仇日情结"的。因为受到父母的影响,小时候还曾经发生过一件很糗的事!有一次姐姐在买"贝露莎"的卡通原声带(......记得这部卡通吗?),我还跪在地上大声哀求姐姐"不要做汉奸!"(哈、哈)搞的整家店的顾客全都再看我们,好糗喔!


小编:你姐姐对你的影响很深?
咎井淳:对。我喜欢漫画、会入这一行,都是受她的影响。对我来说,姐姐就像是个"启蒙灯塔"一样。小时候,我们就常常拿着一大张白纸,我坐一边、姐姐坐一边,先设计出几个人物;姐姐会先就其中几个角色安排他们之间的剧情、发展、对话,之后便轮我安排我手上角色的剧情、发展、对话,有点像"纸上即兴创作",这也是我创作的起源。


小编:姐姐是你的漫画导师?
咎井淳:其实不仅只漫画、连在生活上都受她的影响很深。今天能有这样的"咎井淳"她也是最大功臣。我和姐姐之间就像"光与影"(当然,我是影。)无论画漫画、买日本漫画杂志、加入同人志社团......,姐姐总是站在我的面前,为我披荆斩棘的开出一条光明大道。我认为,在创作的摸索过程中是需要被鼓励的,不能对一个初出的创作者太严苛,对我而言,姐姐就扮演了这样的角色,在我年纪小、绘画技巧还不好的时候,她总是一直在旁边鼓励我;让我有信心走到今天的地步。


小编:你现在的画风色彩相当类似多田由美,受她的影响很重?
咎井淳:嗯......我是个很容易受环境影响的人,喜欢的作品风格会很容易的表现在自己的作品里。国小的时候很喜欢安彦良和(金星战记、亚利安等等),当时的绘画风格就很"安彦",很少年;长大一点之后,因为姐姐的关系也喜欢上条淳士,大概有一年的时间,我的画风都受到他的影响,大约在同人志时代,当时读者还认为我的作品"线条很流利,可是人好丑!"!之后,又从ASUKA杂志上发现了多田由美,让我大为惊艳!!现在的作品视角、取景风格,受她的作品影响相当大。


小编:你创作的灵感从哪里来?
咎井淳:梦。(小编呈现呆滞状)真的!我觉得梦是属于每个人最独一无二的东西,在我的床边有一本"梦笔记",记录我作过的梦境,我的很多短篇的作品都是由我的梦境发展出来的。


小编:你的作品分镜相当流畅、空间透视相当立体,一般所谓的少女漫画风格中算是相当特殊,在这方面是特别受了谁的启发吗?
咎井淳:我的空间透视是一种直觉上的天份,并没有特别学习。但是以后会学习一些摄影方法,让自己的透视感更好。至于分镜方面......应该是受到电影的影响吧!


小编:你喜欢什么样的电影?
咎井淳:我喜欢充满异色、潮湿、古老气息、仿佛颓圮的街头死角般的电影。像"龙族战神"(李国豪主演)、the city of lost children等等。或者是黑色幽默的电影,像昆汀塔伦堤诺"黑色追缉令"或卢贝松的电影我都很喜欢。


小编:你喜欢的电影和你的作品感觉很像。
咎井淳:我很容易受环境影响。(哈)现在在美国我每天不是画漫画、看电影、就是看影集。有两个影集是我必看的:X档案和NYPD.blue。(此时小编的眼睛突然亮了起来,两个人开始讨论X档案的剧情,访问因此中断。)


小编:(咳、咳!)嗯......你喜欢的创作类型是什么?
咎井淳:我觉得一个创作者应该尝试不同类型的创作题材,再从中发现最适合自己的类型。像我之前比较擅长幽默搞笑的作品,在"龙少年"上的短篇"森林奇谭"就是一部那样的创作;或者是人生历炼还没到一个阶段,对于情感戏就完全不行,这篇"镜子的另一边"是我第一次尝试这样类型的作品。

小编:你当初创作这篇故事的动机是什么?为什么要叫这个名字?
咎井淳:这其实是我和表妹一同讨论出来的东西。因为之前大部分只画短篇作品,这是第一次尝试长篇的东西。或许是现在我的生活环境的文化冲突的影响吧,让我开始思考有关"认知"与"存在"的问题,所以才有这一篇作品。由"镜子的另一边"这个篇名就代表了这篇作品的主旨。我希望藉由一个性格晦暗的男主角,面对事情的态度,来讨论人类思想的价值观念。"幸"与"不幸"是一体两面,而镜子代表了所见世界的藩篱,一种人类价值观的认知。人的命运往往是自己造成的,遭遇事情的时候,男主角往往只看到"不幸"的那一面,并没有发现,只要跨过那面"镜子"
又能发现另一个世界。


小编:最后,和所有的读者说句话吧!
咎井淳:这篇"镜子的另一边"是我第一次尝试的类型,很多不成熟的地方希望大家多多包含,多多给予我鼓励,我会继续磨练画技、多多充实,会创作更好的作品让大家欣赏,请大家拭目以待!











Sketching a Fable - The Jo Chen Interview(Original article here)
Written By: Jewels
Posted: 05/25/2004
Photography: Photograph courtesy of Jo Chen, Box Art by Jo Chen and courtesy of Microsoft Game Studios



One of the most up-and-coming Manga and comic-book artists in the U.S. is Jo Chen. More recently known for her Racer X comic-series work, Jo had the opportunity to work on the packaging art for the highly anticipated Xbox game Fable, due out this summer. From publisher Microsoft Game Studios and developer Big Blue Box, Fable is one of the most hyped and long-awaited video game releases of 2004. The promotion story for the game states: “Fable is a ground-breaking role-playing adventure game from Peter Molyneux, in which your every action determines your skills, appearance, and reputation. Create your life story from childhood to death. Grow from an inexperienced adolescent into the most powerful being in the world. Choose the path of righteousness or dedicate your life to evil….” JIVE Magazine had the chance to discuss the new game’s box-art development with Jo and share how it differs creatively from any other type of comic-art project. You can find out more about Jo Chen and browse her galleries at www.jo-chen.com.

When did you first learn about the game Fable and how did the package-art project come about?

Todd Elhart of Hubris Studios contacted me in the spring of 2003 and pitched the idea. We had a couple of initial telephone conversations in which he described the game and what he had in mind for me. At first, he only wanted me to illustrate the packaging. But as the scope of the project expanded and became clearer, they asked me to do an Xbox Fable magazine cover and some promotional stuff like point-of-purchase art and in-store stand-ups. They even asked me to work with the British developers on the menu guts for the game itself, but that was too much for me to accept given my other commitments to D.C. and Marvel for cover work.

How did you develop your first ideas for the artwork? Were you given a prototype of the game to play or something else like storyboards? Also, how free were you to express your own creativity in terms of how the characters on the box looked?

The developers already had some pretty concrete ideas about how the characters should look. They sent me some pre-production art and some screen captures of the game itself to work from. The main illustration on the front of the packaging was undecided. The original idea for the package, I think, was to show the clean-cut protagonist dressed for war, with his arms folded in front of him. I honestly can't recall if they were already toying with the idea of the boy staring into rippling water and seeing a reflection or not. In the end, it was agreed that the most dramatic piece would be the wide-eyed, innocent boy starring at the reflection of the evil, leering adult. I did some rough work that was apparently well received and I remember participating in a nerve-wracking phone conference with the guys at Hubris, some designers in London (from Big Blue Box, I think), and some Microsoft personnel. I was so nervous and often I couldn't discern who was speaking or if they were addressing me. As a result, I often spoke out of turn, confusing everybody. In hindsight it was comical, but at the time it wasn't. I'm no good in those types of situations. Most of the time, the developers and Microsoft would relay their likes and dislikes of my work through Todd at Hubris, who would then convey them to me, whereupon I would modify the paintings accordingly. For the most part, I had a free hand rendering the established characters in my style. Conversely, I was constrained by some design concepts that had already been approved before I came aboard, such as armor and weaponry. Mainly, it was my style of drawing people that they were after.

What are some of the things or styles of the characters you would have changed if you were free to do so?

If I had had complete freedom and creative control, I probably would have changed some things. The current packaging's focal point is the little boy, despite the antagonist's presence in the murky reflection of the water. I might have made the villain the locus of the piece. In fact, I did one sketch of the metamorphosis of the main character in which each incarnation is breaking through the shell of the previous incarnation, something like a moth breaking through the shell of its cocoon, only several iterations occurring in the same illustration, depicting spiritual and physical devolution. But this is all just personal preference. In fact, the final painting I did that appears on the box, we all agree, captures the spirit of Fable very well.

Do you enjoy creating characters or drawing existing characters more? Which is more difficult for you?

Of course I thoroughly enjoy putting my mark on existing characters like those in Fable and Batman and Robin, etc., but I love and live for creating my own characters and my own stories. And although it's much harder, it's extremely rewarding. I've been so busy painting for other publishers that I've let my own stuff languish, which I regret. But all that regret goes sailing out the window and is forgotten when somebody approaches me and tells me how much they like my work on Fable or The Runways or Street Fighter. It makes me so happy to hear that my art is appreciated and it keeps me out of the emotional troughs. I've come to the conclusion that I need to work on a mixture of existing characters and my own. Professionally, it's a nice, healthy balance.

What is your typical process of creating such an art piece and what type of technology do you use?

First, I usually create multiple rough—very rough—thumbnails from which I or my editor can choose. I hate drawing something infinitely detailed and then having to return to it over and over again to modify it as suggestions are made. It's a lot of unnecessary work and slows down the entire process tremendously. From the thumbnail, I create a larger rough pencil and ensure proper perspective and dynamics. Then I sketch a detailed pencil, with sharp lines, which gets scanned into Photoshop, where I apply base colors. All of the actual painting (i.e., brush strokes) occurs in Painter. In fact, I keep both programs open simultaneously and toggle between them to work on a piece. Many people ask me how I create these images, thinking this is a filter or some effect in Photoshop or Painter. But the images really are paintings. I paint them exactly as I would paint in oils or acrylics. The brush strokes are real and done with my graphic stylus rather than a brush. Only the special effects, like neon, lightening, or auras, are done with software gimmickry. The biggest advantage of this process is that I'm not covered in dabs of colored paint, smelling of turpentine and linseed oil. On the other hand, the disadvantage is that there is no original physical canvas since it is a digital image. I can never really have a gallery exhibition of my work that isn't composed of prints.

After completion of your first draft of the work, how many iterations occurred due to input from the developers or publishers of Fable before it was finalized?

Quite a few. However, the modifications were usually small things: making the eyes wider, making the thumbs bigger, making the dagger sharper and more sinister, etc. By far, the most difficult piece of art for me was the rippling effect in the water. I wanted to keep the package illustration as a one layer file in the software, but the requirements dictated that different characters had to appear in the reflection of the water, beneath the boy, for different promotional purposes. In the end, the artists at Hubris lent a hand in manipulating the ripples after my various illustrations were applied. There was no simple way around the problem, and it was a bit of a headache, but challenges are always good.

What is the hardest thing about doing artwork for a video game as opposed to other types of projects? And likewise, what is the easiest?

The hardest thing about games is that because of the size of the investment, a greater number of people are involved and have a say in the final version of the art. You have to please everyone: the developers, the marketers, the distributors. That said, the easiest thing about working on a game are these same people. They are artists, too, after their own fashion and everybody has a hand in creating the product. With Fable, everybody couldn't have been nicer—Todd Elhart at Hubris, especially. He really gave me a free hand, or at least the pleasant illusion of a free hand, and for that I am grateful. I would love to work with him again. The creative process on the whole, at least for me, is pretty much the same with any type of product. With comic books, I usually deal with a single editor, or an assistant editor, who rarely contacts me, except to give deadlines or a few instructions as to the type of illustration they're looking for. With games, there is much more conferencing to brainstorm, to ensure that instructions are clear and that required modifications are being attended to. Oh yeah, and the pressure. On Fable, it wasn't overt, but I felt its presence. I imagine that everybody involved was acutely aware that a lot was riding upon the work of each of the project's participants. And you don't want to be the one who blows it for everyone by missing a deadline or doing a bad job.

Do you play video games, and if so, which ones?

I played them before when I was younger and less busy, but rarely play now. I realized how much time a person can spend playing, leaving time for little else, and I had a career to start! I enjoy watching other people play, though. Let's see, in the past I've played Tekken, Tenchu, Resident Evil, and Grand Theft Auto. I always get killed so quickly in these games and usually end up with a sore hand from pressing buttons so hard. Not good for a painter.

What are your current projects and what future projects are you excited about?

I am just finishing up my series of covers for Marvel's The Runways series; I'm working on the last one now. I am continuing to create covers for Udon Comics' Street Fighter series. Mostly, I've been taking a break and working on my own stuff and trying to update my Web site. I've done a few doujin for publication in Asia and I continue to work the kinks out of the story arc for my epic tale of Chinese mythology, tentatively titled “The Specter King.” It's been five years since I published anything substantial in Asia and people who bother to write me indicate that they would like something new from me. So, I am working hard to get “The Specter King” off the ground. It is my intention to publish this in multiple languages, including English.

What is the most inspirational piece of advice you could give to a budding artist who sees you as a true success story, especially for working in gaming, Manga, or traditional comic-book industries?

Practice, practice, practice! I've been drawing and refining my style since I was five or six years old, and I'm still not perfectly happy with it. That drives me to improve myself through constant practice. This is my pragmatic advice to the budding artist. Also, study to be an artist and not just a comic-book or anime artist. The fundamental skills one learns in art classes will transfer into your work in the various popular industries like comics and video games. The work of the masters is far more valuable than any “How to Draw Manga” book ever will be. I refer constantly to the works of John Singer Sargent, Vermeer, and Georges De La Tour when I'm creating covers for comic-book and video game packaging. My second piece of advice is to get your work on the Internet. It seems pretty obvious but I don't know how many people I've met at cons who aspire to be working artists who don't have a site on the Web! I’m kind of stunned when I hear this. Honestly, it's the cheapest way to advertise in history. For $10 or less per year, you can secure a domain and build a full-color gallery site to showcase your work to millions of—scratch that—billions of people. And some of those people just might approach you with work; that's exactly how I got my first professional job in the U.S. Now, get pencilling and good luck!

Tuesday, April 03, 2007

Walerian Borowczyk

Walerian Borowczyk (September 2, 1923 - February 3, 2006) was a Polish film director. He directed 40 films between 1946 and 1988.

Keywords: European, sex and horror, erotic, satirical, surrealist,catastrophe,short animation

Representative works:
Był sobie raz (Once Upon A Time) (1957) and Dom (House) (1958, with Jan Lenica)

Links
Wiki
A review on his animation shorts (with video downloads)

From the 2nd link above:

Walerian Borowczyk

“Matter is the most passive and defenseless essence in the cosmos. Anyone can mould or shape it; it obeys everybody. All attempts at organizing matter are transient and temporary, easy to reverse and to dissolve.” —Bruno Schulz

...

Rose petals are put to good use in female masturbatory fantasies. Female genitalia is so often compared to rose petals (e.g. Kane�s �Rosebud�) Here Borowczyk offers a literal on-screen deflowering!

Borowczyk Walerian-Scherzo Infernal (1984)

Monday, April 02, 2007

Jean-François Laguionie & La Fabrique



Came across this animator in a book... FLAT CARDBOARD STYLE? Hmm let's see...

Animator Profile
Jean-François Laguionie, born on Oct 4 1939 in Besancon, is a realistic animation film maker. Critically acclaimed and award winning, his work has been described as a kinetic combination of "naïf painting and René Magritte." He wasn't initially interested in animation but preferred theatre. It was through meeting Paul Grimault that Laguionie learnt the techniques of animation. Although the two were close, they did not work together.

Jean-François Laguionie made several short films, among which the famous La Traversée de l'Atlantique à la rame (crossing the Atlantic to the oar) was awarded by Cannes and César. During the production of 'Gwen', or 'The Book of Sands' in 1985, Jef (nick) founded the animation studio 'La Fabrique' (The Factory). However the film was met with critiques and did not achieve major success.It was not until 1999 that his second full feature film 'A Monkey's Tale' came out and in 2003, Black Mor's Island was completed.Currently, Laguionie is working on Le Tableau (Table), a full length film mixing animation and real graphics.



'La Fabrique'




Quoted from Official Site:
More than 20 years ago, Jean François LAGUIONIE, director of several short animation films, settled in Saint Laurent le Minier, in an old silk factory to begin work with a few artist friends on a feature film: "GWEN OU LE LIVRE DES SABLES", and from then onto a stream of short films destined for the cinema. All these artists stayed in the Cevennes and in 1987 the Fabrique Association became a production company (although the association structure is still operating in order to ensure the projection of the films and the functioning of animation workshops)

In 1995 the work area was enlarged from 330 m2 to 600 m2 to allow for the production of a second feature film "THE CASTLE OF THE MONKEYS".

And so the adventure goes on , with the goal of having a diverse production activity combining the making and distribution of author's short and feature length films and working on television specials of a top quality level. Animation services for the developpement and production of interesting projets are also available.

Today, La Fabrique counts about one hundred films in it's catalogue, films often coproduced with major television channels and other french and european studios.

La Fabrique Feature Films


La Fabrique Short Films > Refer here



Filmography & Awards (from IMDB)
Synopsis quoted from La Fabrique Official Site

Filmography (as Director)


Île de Black Mór, L' (2004)
... aka Black Mor's Island (literal English title)


Château des singes, Le | Castle of the Monkey(1999)
... aka A Monkey's Tale (UK)
... aka Kwom und der König der Affen (Germany)


Gwen, le livre de sable | Book of Sand (1985)
Behind the ramparts of a city , in the middle of a sandy desert, an ancient civilisation has left a monstrous machine which for centuries has continued to produce gigantic objects only to hurl them in to the desert.. Roseline, a 173 year old woman, like all the other nomades of the desert , does not understand the utility of these objects, sinks, telephones or coffee machines and so they are used in other ways, such as for shelter from the sun and the cold. The forbidden city, looming in the distance, is the haven of the dead and no one has ever come back from there. However GWEN, a thirteen year old girl will be the first to attempt the journey in the hope of finding her friend who has disappeared. Rosaline will be her guide and the journey,full of surprises, becomes a sort of initiation.


La Traversée de l'Atlantique à la rame | The Atlantic Crossing(1978)
At first it was only meant to be an ocean crossing, an exploit like any other. However, some journeys last longer than others…


L'Acteur | The Actor(1974)
In his dressing room a young actor makes himself up as an old man , but under his mask of youth , which is his real face


Une bombe par hasard... | An unexpected bomb(1969)
The town has been abandoned by it's inhabitants who fear the explosion of a diabolical machine. A tramp appears, unaware of the situation….


La Demoiselle et le violoncelliste | The lady and the cellist(1965)
... aka The Lady and the Cellist (France: literal English title)
Down by the sea, a musician unwittingly unleashes a storm which carries off a young fisherwoman catching shrimp.

Awards
1965 La Demoiselle et le violoncelliste (the lady and the cellist) - Grand Prix

1967 L'Arche de Noé - Silver Dragon

1969 Une bombe par hasard... - Special Jury Prize

1978 La Traversée de l'Atlantique à la rame - Golden Palm : Best Short Film
1978 La Traversée de l'Atlantique à la rame - Grand Prize
1979 La Traversée de l'Atlantique à la rame - César: Best short film - animation

2000 Le Château des singes (aka. A Monkey's Tale) - Hollywood Discovery Award: Best Animation

2004 L'Île de Black Mór (Black Mor's Island) - Adult's Jury Award : Cert. of Merit

Nominated
2004 L'Île de Black Mór (Black Mor's Island) - Starboy Award



La Traversée de l'Atlantique à la rame (Crossing the Atlantic)

Part 1


Part 2


Part 3


La Demoiselle et le violoncelliste (The lady and the cellist)


Other videos on youtube
video
J.F.Laguionie- Le masque du diable(Part 1)

video
J.F.Laguionie- Le masque du diable(Part 2)

video
J.F.Laguionie- Potr' et la fille des eaux(Part 1)

video
J.F.Laguionie- Potr' et la fille des eaux(Part 2)
----------
Reference
IMDB
Wiki (French)
La Fabrique Official Site
Jean-François Laguionie (pdf file in French)

The Marathon

Found this clip when I searched for 'Alexander Petrov'. A heart-warming short that tells you, animation is ageless. Your favourite heroes are ageless. The legend is ageless. And love for free spirit and creation is ageless. Reminds me of another quote by Chanel "Fashion fades, only style remains the same." In the world of animation, people come and go but imagination remains =D

Homage created for the 60th birthday of Mickey Mouse in 1988 by animators Mikhail Tumelya and Alexander Petrov.

Amazing nuts by Studio 4℃



My past entry on Studio 4℃

Reference
Bug Hole
Studio 4C Official Web
Studio 4C @Wiki
Animenewsnetwork

Amazing Nuts is a musical collaboration between Studio 4C animators and four artists under Rhythm Zone. It's available in DVD+CD release (2006 Dec.)

From Anime news network: Plot Summary> A compilation of four short animations from Studio 4°C. In which each is a mix of nice visuals and music. The first short entitled Global Astroliner, has an urban style with hip hop music by M-Flo. This is followed up by Glass Eye; where the animation is cell shaded with music by Ram Rider. The next is Kung-Fu Love, consisting of beautiful animation with background music called Twinkle (unknown artist). The last piece, Joe and Marilyn, is computer generated and music by Mink.

1. Global Astroliner (Daisuke Nakayama x M-Flo)
2. Glass Eye (Takashi Yamashita x Ram Rider)
3. Kung Fu Love (Yasuhiro Aoki x Twinkle)
4. Joe and Marilyn (?x Mink)

Studio 4°C - Global Astroliner (song by M-flo)


Ram Rider - Smile Again


Kung Fu Love (storyboards by Yasuhiro Aoki) | Full Version


Koda Kumi - Twinkle


Mink - Here by my side





Other works by Studio 4℃

「音響生命体ノイズマン」(1997)
15min, Beyond C/BANDAI VISUAL
Noiseman Sound Insect
Director: 森本晃司
Character Design: 森本晃司,湯浅政明
Music: 菅野よう子 (trees make sees)
Lyrics: Tim Jensen
Song: Cristal Willams

Noiseman Sound Insect Part I


Noiseman Sound Insect Part II





「マインド・ゲーム」(Mind Game)(2004)
Direct/Script: 湯浅政明
Original Story by ロビン西

Mindgame - Trailer





「ディープ・イマジネーション創造する遺伝子たち」(2006.7)
Deep Imagination
Short feature films

[1]ダンぺトリー教授の憂鬱 (Direct: 小原秀一)
[2]End of the world (Direct: 小林治)
[3]COMEDY (Direct: 中澤一登)
[4]彼岸 (Direct: 村木靖)
[5]ガラクタの町 (Direct: 伊東伸高)

Punch 1 - Professor Dan Petory's Blues


Punch 2 - End of the World


Punch 3 - Comedy


Punch 4 - Higan

高嶋上総 (Takashima Kazusa)

Takashima's back after 3 years!!! I think...

Some evidence > Her name appeared on recent Beboy magazines and it seems she's drawing 2008? calendars for Beboy. And of course she updated her website!! (after 3 years!)

The review below is in Chinese only.

三年没有更新,三年!!然后昨天突然发现有新迹象,我当她彻底挂了(估计在生小孩?),起死回生啊。唉,再看一遍彩图作品还是那么出色,幽默,童趣,帅气。色彩的感觉,人体解剖比例的协调性。。。要好好学习学习。。。

:: 档案 ::





高嶋上総 | Takashima Kazusa
居住地:北海道
生日:10.23
血型:B
网站:maxmaximum (http://kazusa-t.cocolog-nifty.com/blog/)
email (kzsusa-t@mbr.nifty.com)

喜欢:ADIEMUS,白饭(饭桶么?),茶,小动物等
讨厌:肥肉,无聊,拘束
希望:世界和平

如果明天地球就灭亡了最想吃什么? 用煮熟的饭捏成的饭团子。

链接
Maxmaximum (old official site)
Takashima's new blog
Canalblog on Takashima
Kazusa club on deviantART
Exceptional - a Takashima fanlisting
Takashima community on Livejournal
X-style - a Takashima fansite




:: 非BL作品 ::



ハーレムビートは夜明けまで 1-3册(Harem Beat:直到黎明)
vol 1(eng) | vol 2(chn) | vol 3(chn)

harlembeat11 29951o1 4_04_924979_0

来自地狱的王子和他的宠物猫逃到人间为了寻找点fun,王子他爸得知后大怒,派出僵尸+吸血鬼+人狼三人组去擒获王子回巢。唯一的线索就是王子背后的地域刺青(因为到了人间后模样都变了,身体缩小),所以只有让他脱。。。然后就是一串搞笑事件。



宅配戦隊ハコブンジャー (送货上门队Hakobunja)
连载中,NO单行本 Part 1 | Part 2 (link & scanlations by east27)

来自天堂的superpower四人组,到地球上解决人间的各种麻烦事情。(似乎是按金木水火分的,每个人都有一只超可爱的宠物)

:: BL作品 ::



Fanmade MV: Last Client - Woke up this morning


■ ラストクライアント(Last Client):职业杀手和男妓的爱情故事,连载到第7章高嶋竟然不画了(没能赶上截稿期所以退出了,似乎是这样。漫画家之耻啊!),晕。这算是她唯一有情节的故事了(因为剧本是另一个小说家写的),画的很精致,分镜也很讲究。也许太精益求精了才交不出稿!(Scans available from Shiran )


■ ワイルド.ロック(Wild Rock):单行1本 | 两个原始部落间的羁绊,情节0。。。
这个比较强,某叫香代乃(图左)的漫画家大抄高嶋(图右)>> 罪证


■ 犬も歩けばフォーリンラブ(如果狗能直立行走),单行1本。收录了若干短篇:狗狗3部曲,また、夏が来た(夏天来了),ピンポイントラヴァーズ(Pinpoint Lovers),scans available from Shiran


■ 短篇无单行:Dragon Boy。不知道出到哪里了,估计也是高嶋消失前未完成的连载。






GALLERY SELECTION
(All pictures copyright Takashima Kazusa)

暑中見舞所用插画



随笔画


残暑見舞所用插画


月刊Asuka封面 | Harem Beat


BEXBOY GOLD封面 | Last Client


BEXBOY GOLD 封面 | Dragon Boy