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+ | ===Kakinuma Hideki=== | ||
+ | |||
+ | Production Designer | ||
+ | |||
+ | //President of Darts. Mr. Kakinuma did the mechanical | ||
+ | design of the Mospaeda TV series , and the | ||
+ | Megazone 23 OVA while he was with Artmic. Later, | ||
+ | he created the original story, screenplay, storyboard, | ||
+ | and mecha designs of the Gallforce OVA. Currently, | ||
+ | he is in charge of organization and screenplays for | ||
+ | the TV series DT Eitoron.// | ||
+ | |||
+ | Bubblegum Crisis was planned as a title to follow the | ||
+ | OVA Megazone 23 and Gail Force that were | ||
+ | produced at the time by Artmic (however, we could | ||
+ | say the origin of BGC was Technopolice 21C , the SF | ||
+ | anime originally created by Suzuki—san,). Based on | ||
+ | this history, Bubble is like Megazone + Gall Force. | ||
+ | |||
+ | Due to the major success of the movie Blade Runner | ||
+ | at that time, the situation is the near future with a | ||
+ | strong Blade Runner toughness, however, it still has | ||
+ | some brilliant concepts, such as the situation of | ||
+ | Tokyo being rebuilt from the damage of the second | ||
+ | Great Kanto Earthquake and the region which was | ||
+ | not rebuilt due to the fault which split Tokyo into | ||
+ | two areas. | ||
+ | |||
+ | At that time, Artmic was a company in charge of | ||
+ | animation production planning, however, they had | ||
+ | the capability to do original stories, screenplays, | ||
+ | storyboards, mechanical design, character design | ||
+ | and even animation. So they were able to choose | ||
+ | what parts of the production they’d do themselves, | ||
+ | and what parts would be contracted out. | ||
+ | |||
+ | I personally liked concepts like the unfinished Tokyo | ||
+ | city hall (which was not built at that time in Tokyo) | ||
+ | becoming abandoned due to the decision to move | ||
+ | the capital to outside Tokyo. And then, as soon as it | ||
+ | gets demolished, the huge Genom tower is built. | ||
+ | However, original creator Suzuki-san, Aramaki-kun, | ||
+ | who was mainly in charge of mechanical design, | ||
+ | and character designer Sono-yan of character | ||
+ | design had their own, slightly divergent, | ||
+ | inclinations. | ||
+ | |||
+ | They all have the same concept: a futuristic | ||
+ | “Sure Death!". It seems that Suzuki-san aimed at | ||
+ | something like a societal drama centered on the | ||
+ | evils of industry. I think that Aramaki-kun was aiming | ||
+ | for a stylish cyber-SF in tune with MTV, and | ||
+ | Sono-yan was aiming for hardcore SF. However, | ||
+ | more than anything else, the key reasons for it | ||
+ | being a hit are exclusively the title Bubblegum Crisis, | ||
+ | which foretold the later bursting of the bubble, and | ||
+ | Sono-yan’s kinky hardsuits that are reminiscent of | ||
+ | “Ramroid.” | ||
+ | |||
+ | As an aside, Sono-yan bought a lot of pictorials of | ||
+ | ladies‘ underwear as research materials for his hard | ||
+ | suit designs! (laugh) | ||
+ | |||
+ | At the time there was no plan to make it into a series, | ||
+ | each fiim was going to be made one at a time. So | ||
+ | each film had to be much more serious and | ||
+ | self-contained than series episodes. | ||
+ | |||
+ | Since I was also doing the Gall Force series, I | ||
+ | gradually drifted away from BGC production. | ||
+ | Looking back at that time, it was the dawn of the | ||
+ | OVA era, and each of the OVAs had its own unique | ||
+ | character and power. Each episode was expected | ||
+ | to sell well, so we were happy to keep on working, | ||
+ | keeping in tune with the expectations of the fans. | ||
+ | Now, after 12 years, BGC is being re-released as a | ||
+ | TV series. I hope it becomes a title which both old | ||
+ | and new fans can enjoy. | ||