"BACK ARROW" broadcast start commemoration Kazuki Nakashima x Hidetaka Tenjin special dialogue [Part 2]

Interview Articles "BACK ARROW" broadcast start commemoration Kazuki Nakashima x Hidetaka Tenjin special dialogue [Part 2]

2021-01-29 18:00 Update

The original TV animation "BACK ARROW" has finally started broadcasting.
Continuing from the first part, we interviewed Kazuki Nakashima, who handles the series composition and the script for the entire story, and Hidetaka Tenjin, who is in charge of designing the mecha "Bry Height" that appears in the play!
In the second part, he talked about the process leading up to the birth of the key item "Bind Wapper", the scenes that left an impression on him, and his expectations for the "BACK ARROW" figure series in the future.

――Please tell us your impressions of Figuarts mini.

Nakajima:The point is that your eyes are shining. In particular, the theme of this anime is "belief," so the brilliance of the eyes is actually quite linked, and I think that's what I like.

Tenjin:It's nice that the three people's standing legs are also unique.

Nakajima:It's not SD, it's a design between real and SD. Have you been on this line all the time?

---That's right. It is out as a series.

Tenjin:Do you come out other than these three people?

――Although it is in the examination stage, it will come out depending on the development!

――In the interview of the first part, you mentioned that you entered the design from "Bind Wapper", but why did you get that shape?

Nakajima:As you can see, the Bind Whopper is a part or ver. A.N.I.M.E. that allows Briheight to transform into a machine. To put it simply, it's like the transformation belt of Kamen Rider.
We talked about the need for some kind of ver. A.N.I.M.E. to give form to the belief, but we thought a belt wouldn't work (laughs). I think we talked about how if a belt wasn't an option, then a bracelet would be better. We talked about the motion of clicking something you're holding and putting it on, and that's how we ended up with the bracelet. It's what we call a transformation pose.

Tenjin:Does the shape of Wapper differ from person to person in me? That was the first question.

Nakajima:Wappers are ready-made products that are falling from heaven, so they have the same shape. It was an image that the shape changes when it is held by a person. It was good that the shape changed when the belief changed, but it was too high in calories in drawing (laughs), so I think it became a simple shape.

Tenjin:Rather than just a ring, it can be removed by making it C-shaped in action, and there is a possibility that it will be taken by the enemy, so it became such a shape.
If the color of the brie height also changes depending on each, it is better not to attach it to the whopper. At first it was blue, but now it's transparent.
Originally, the shoulders of Bryheight were in the shape of a whopper. The idea was that a whopper that could be worn by a real human would be attached to the figure, and I thought it would be good as a toy, but I was told that it would be good because it was difficult to move (laughs).

Nakajima:When I removed the whopper (Atari in episode 1), the screenplay also had a whopper on the briheit, and I wrote that I couldn't remove it by grasping it, but in the animation, if I was pressed, my body would be linked and I couldn't move. It's set, isn't it? Because the whopper is no longer attached to the brie height.

Tenjin:Since Director Taniguchi has a very strict calorie calculation, I often see the part where he decides to stop if he thinks that this will be a troublesome drawing and a laborious work. It was very refreshing for me, who has continued to increase the details with MACROSS, such as "It takes a lot of time and effort to draw this," and so on. However, the goal of continuing to make anime is quite right.

Nakajima:Therefore, even with this high-calorie script, the production will not fail.

Tenjin:I was very impressed with the emphasis on the drama. You said that calories are calculated at the end because it is difficult to draw with this setting.

Nakajima:While writing, I was asking every episode, "Is it really okay?" Is it okay to fight like this? I've been at war all the time.

Tenjin:It was the first time for me to place an order for such a large quantity at the same time, so I was worried that I would make all of this into a 3D model. So, I also controlled calories in terms of design.

Nakajima:In the second half of the script, I fixed it because it was too long, but I thought it would take calories, so I reduced the britight by one. But when I saw the video later, it was revived and I was told, "I've already made this." If you tell me, I put it in and fixed it (laughs).

――Are there any scenes or favorite lines that left an impression on you up to the third episode?

Nakajima:In one episode, Burke (Mr. Burke Lean, the mayor of the village of Edgya) said to the enemy's bounty hunter that he liked the promotion more than I did. Explaining that the contents of Rakuhou are arrows, when (the enemy) is liar and angry, that line that returns while crying.
It seems that Burke's fate and life just to get involved are decided by one word (laughs).

Tenjin:This hasn't appeared in episode 3, but the moment I Jump from the top of Gran Edger and landed, Muga was standing with his arms crossed.
While checking the video, this is Mr. Yamane (Rihiro)（※1）There is an illusion that is drawn in the past. Isn't it a nostalgic sight of departure? There is something like the excitement that was seen in 2021.
Formerly Mr. Yamane (Kimitoshi)（※2）I went to Japan Expo in France for another work, but Mr. Yamane asked French fans, "Why Japan doesn't do simple, clear and exciting anime works. Especially easy-to-understand robots. I've lost it. "
Even overseas, everyone likes old-fashioned robot anime. Why do you make the design complicated? I returned to Japan and talked in Narita.
After all, a work like "BACK ARROW" must be designed so that everyone can see it in a blink of an eye, and I think we can't lead the future. There were many things I thought I had to remember why everyone liked Japanese anime.

(* 1 Masahiro Yamane ... In charge of CG action supervisor of this work)
(* 2 Kimitoshi Yamane ... In charge of the castle ship design of this work)

Nakajima:I agree. There is a design that looks strong as you see it. I feel like there was something like Go Nagai's "MAZINGER Z" that seemed to be strong regardless of whether it was there or not. I feel like I need something like that gene.

Tenjin:In that sense, I think that robot animation is more like an era when robots are already there.

Nakajima:Regarding "BACK ARROW", it's not a robot anime as a mechanic. I think it's a symbolic Robo anime.

――Finally, please tell us about the future development and highlights of your work.

Nakajima:After the 4th episode, the main story begins. Shu is going to attack, but what will happen? Various stories roll from here. We hope you enjoy watching where Arrow and Gran Edger are heading.

Tenjin:It's still in the early stages, but I think that the basic characters have appeared to some extent and their charm is fully conveyed. After all, the existence of the character "BACK ARROW" seems to be a hint to break down the difficult society today.
Therefore, I would like you to take it easy and simply look at it and support it. More brights will appear, so please keep in touch with us for 2 cools.
thank you very much.

[PROFILE]
Kazuki Nakashima
Joined Gekidan Shinkansen as a writer with a seat from "Hyperstep of Flame" in 1985.
I met Hidenori Inoue through high school drama.
The script, which emphasizes narrative with historical and mythical motifs such as "Susanoo," "Seven People of Skull Castle," and "Eyes of Ashura Castle," and uses a lot of intricately intertwined hints, is a theater company with a sense of speed and groove. It is a masterpiece of.
In 2003, he won the 47th Kishida Kunio Drama Award for his play "Aterui". From 2017 to 2018, the 360-degree theater "IHI Stage Around Tokyo", which is one of only two in the world, performed the Kacho Fugetsu version of "Seven People in the Skull Castle" and the polar version of "Shura Tenma". In addition, there are many newly written works such as "Jeanne d'Arc" (directed by Akira Shirai in 2010 and 2015), "The Sanada Ten Braves" (directed by Keiko Miyata in 2013 and 2015), and "Giden Sharaku" (directed by Masahiko Kawahara in 2009 and 2018). In addition to theatrical performances, he has written the screenplay for the movie and TV program “Futagashira” (2015 WOWOW), the original comic, the TV animation “Tengen Toppa Gurren Lagann” (2007 TX), “Kill la Kill” (2013 MBS/TBS), and “BNA BNA”. A” (2020 CX) script and series composition, “KAMEN RIDER FOURZE” (2011 EX) script, theatrical animation “Batman Ninja” (2018 directed by Junpei Mizusaki), “Promare” (2019 directed by Hiroyuki Imaishi), etc. There is a lot of room for activity.

[PROFILE]
Tenjin Aki
Active as an illustrator and designer.
He is also active in the field of animation, providing mechanical art for the anime series "Macross Zero," "MACROSS F," and Genesis of Aquarion Aquarion," mechanical design for "Hellsing," "Macross Delta," "Knight's & Magic," and "Super Robot Wars T," as well as image boards for the full CG film "SAINT SEIYA LEGEND of SANCTUARY."
Hasegawa's "MACROSS" series, BANDAI SPIRITS Gundam and other master grade series plastic model box art. Since 2014, he has been in charge of box art illustrations for BANDAI SPIRITS "Star Wars" plastic models.
In addition, it emphasizes drawing a story on the screen by consciously expressing an analog brush feeling while expressing it with CG. He has produced many works regardless of field.

≫ Click here for the special site for "BACK ARROW"!

≫ Click here for the first part of the interview!

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