Certos acontecimentos desses últimos dois dias me motivaram a criar esse tópico. O primeiro foi um video do canal DouchebagChocolate que eu até postei no Hanekawa, onde o jovem rapaz critica aquilo tudo que já estamos acostumados a falar mal, e da uma deixa sobre o projeto do Kickstarter de Under the Dog:
E hoje eu vi que a ANN entrevistou a staff do citado Under the Dog. Na entrevista eles falaram um pouco sobre como será o anime e qual o objetivo deles ao tentar financia-lo de tal modo. No spoiler abaixo há uma versão condensada da entrevista:
Spoiler:
10:40, on UTD seeming like a western-oriented anime:
Producer Hiroaki Yura: “I was born in Japan but raised in Australia from 6 to 28. I’m 33 now [...] I don’t want to do an anime that sells to Japan. [...] Being able to cater to countries other than Japan will allow animators to explore topics in different ways.”
14:00, on the risk-averse Japanese industry:
Yura: “Each company in a production committee has a [specific stake]. If you’re a record label and you give $100K to a production committee, they’ll give you the rights to sell the CD. From a record label’s point of view, they don’t care about anything but the music. These conflicts of interest within the production committee negate the whole point. I only want to make anime with people who care about making it better.
Writer Jirou Ishii: “It’s possible to work with good people within a production committee to a certain extent, so it’s not all bad. But [doing the Kickstarter] will feel like the old days where creators will talk among themselves to make [...] the final decisions on things.”
Yura: “[Even a star creator like] Katsuhiro Ōtomo probably had discussions with Bandai Visual or whoever, with things like Steamboy where he was forced to release it prematurely, even though he did take ten years to do it!”
24:00, on the perceived shallowness of UTD’s premise:
“The Kickstarter page doesn’t actually reflect how deep the story is, but we’re afraid of giving away what we’re trying to do. We’re trying to figure out a way to show more of the story without giving it away.”
27:00, on saving anime
Yura: “[Kinema Citrus CEO Muneki Ogasawara] has a prestigious background of making anime-- Eureka, Evangelion, Ghost in the Shell. He has ideals but he’s been battered by the industry, with budgets that get lower and lower every year, making anime that appeals to smaller audiences. [...] He’s desperate to make a change; he feels the only way Japanese animation will be saved is through the help of countries other than Japan.”
Interviewer Zac Bertschy: "Do you think that the anime industry needs to be saved, and if so, from what?"
Yura: “I’m going to brave getting hated on… It doesn’t need to be saved per se. I’m not against moe, but I’m concerned about the amount of it, and I feel it only appeals to the minority of consumers. People like [director Masahiro Ando]’s talent will be wasted if he only works on moe. [...] Anime isn’t just about light novels, you know? Anime is much more than that. To save itself from the stigma of moe-ism, we need an external force to counter the balance.”
Bertschy: “We get into this argument a lot on the US side of the fandom about how there’s too much of this saturating the market, 20 out of 30 shows only appeal to this one audience… Something like UTD is what old-timers like me look for. We’re big on Space Dandy, Aldnoah Zero and shows like that.”
Yura: “I’m a big fan of Sidonia & Attack on Titan, but those titles are few and far in between, cuz the Japanese industry has taken a turn to light novels. I would blame Kadokawa for a lot of that influence. I don’t deny that some [Kadokawa projects] are fun to do… I was involved in Suzumiya Haruhi and Steins;Gate, but oversaturating the market like this is not the way to go. Japanese companies have a tendency to plunge into things that work. Another example is with mobile games, with their $3 gatcha cards where you don’t know what you’re getting. It’s just stupid. $3 for a random digital drawing of a moe character.
These days our moral compass is screwed up in terms of entertainment. Whatever I can do with the friends I have, I want to change that.”
Então o que eu gostaria de saber: qual a opinião de vocês? Acham que Under the Dog será a vanguarda de um jeito novo de se fazer anime? Um jeito que não se foca somente no publico japonês?
Eu achei particularmente interessante a parte em que o entrevistador pergunta sobre UTD ser um ''western-oriented anime'' e os entrevistados falam sobre animes que são de fato feitos pela staff. Deixar que os cães da indústria se mordam no Japão e se focar em um novo público, sem depender de produtoras e interesses externos, que ficam capando as possibilidades de uma obra.
Outra parte que eu achei realmente interessante foi quando falaram sobre Design. No Japão os design de sci-fi são mais focados em simbolismos do que ''funcionalidade''. É só olhar para os Robôs-Samurai de Gundam e os Humanoides 'Armadurados' de EVA que isso fica nítido. Enquanto desse lado do globo o foco é ser o mais plausível possível.
Eu tenho muitas esperanças com esse projeto, a atitude dos produtores me parece muito positiva, de fazer algo diferente, sem as rédeas da indústria. Se vai dar certo e revolucionar? Difícil dizer, mas eu vou torcer para que sim e estou pensando em contribuir.
Sobre o Under the Dog em si, que trailer lindo hein? Parece um anime que não recebemos há muito tempo, e com essa staff dá pra acreditar que vem coisa boa por aí. E Yusuke Kozaki fazendo o character design de um anime bom, como eu esperava por isso *-*
(29/08/2014, 12:16)Bruno Jordani Escreveu: Certos acontecimentos desses últimos dois dias me motivaram a criar esse tópico. O primeiro foi um video do canal DouchebagChocolate que eu até postei no Hanekawa, onde o jovem rapaz critica aquilo tudo que já estamos acostumados a falar mal, e da uma deixa sobre o projeto do Kickstarter de Under the Dog:
Link youtube: http://youtu.be/-2lVi-SeIx0
E hoje eu vi que a ANN entrevistou a staff do citado Under the Dog. Na entrevista eles falaram um pouco sobre como será o anime e qual o objetivo deles ao tentar financia-lo de tal modo. No spoiler abaixo há uma versão condensada da entrevista:
Spoiler:
10:40, on UTD seeming like a western-oriented anime:
Producer Hiroaki Yura: “I was born in Japan but raised in Australia from 6 to 28. I’m 33 now [...] I don’t want to do an anime that sells to Japan. [...] Being able to cater to countries other than Japan will allow animators to explore topics in different ways.”
14:00, on the risk-averse Japanese industry:
Yura: “Each company in a production committee has a [specific stake]. If you’re a record label and you give $100K to a production committee, they’ll give you the rights to sell the CD. From a record label’s point of view, they don’t care about anything but the music. These conflicts of interest within the production committee negate the whole point. I only want to make anime with people who care about making it better.
Writer Jirou Ishii: “It’s possible to work with good people within a production committee to a certain extent, so it’s not all bad. But [doing the Kickstarter] will feel like the old days where creators will talk among themselves to make [...] the final decisions on things.”
Yura: “[Even a star creator like] Katsuhiro Ōtomo probably had discussions with Bandai Visual or whoever, with things like Steamboy where he was forced to release it prematurely, even though he did take ten years to do it!”
24:00, on the perceived shallowness of UTD’s premise:
“The Kickstarter page doesn’t actually reflect how deep the story is, but we’re afraid of giving away what we’re trying to do. We’re trying to figure out a way to show more of the story without giving it away.”
27:00, on saving anime
Yura: “[Kinema Citrus CEO Muneki Ogasawara] has a prestigious background of making anime-- Eureka, Evangelion, Ghost in the Shell. He has ideals but he’s been battered by the industry, with budgets that get lower and lower every year, making anime that appeals to smaller audiences. [...] He’s desperate to make a change; he feels the only way Japanese animation will be saved is through the help of countries other than Japan.”
Interviewer Zac Bertschy: "Do you think that the anime industry needs to be saved, and if so, from what?"
Yura: “I’m going to brave getting hated on… It doesn’t need to be saved per se. I’m not against moe, but I’m concerned about the amount of it, and I feel it only appeals to the minority of consumers. People like [director Masahiro Ando]’s talent will be wasted if he only works on moe. [...] Anime isn’t just about light novels, you know? Anime is much more than that. To save itself from the stigma of moe-ism, we need an external force to counter the balance.”
Bertschy: “We get into this argument a lot on the US side of the fandom about how there’s too much of this saturating the market, 20 out of 30 shows only appeal to this one audience… Something like UTD is what old-timers like me look for. We’re big on Space Dandy, Aldnoah Zero and shows like that.”
Yura: “I’m a big fan of Sidonia & Attack on Titan, but those titles are few and far in between, cuz the Japanese industry has taken a turn to light novels. I would blame Kadokawa for a lot of that influence. I don’t deny that some [Kadokawa projects] are fun to do… I was involved in Suzumiya Haruhi and Steins;Gate, but oversaturating the market like this is not the way to go. Japanese companies have a tendency to plunge into things that work. Another example is with mobile games, with their $3 gatcha cards where you don’t know what you’re getting. It’s just stupid. $3 for a random digital drawing of a moe character.
These days our moral compass is screwed up in terms of entertainment. Whatever I can do with the friends I have, I want to change that.”
Então o que eu gostaria de saber: qual a opinião de vocês? Acham que Under the Dog será a vanguarda de um jeito novo de se fazer anime? Um jeito que não se foca somente no publico japonês?
Eu achei particularmente interessante a parte em que o entrevistador pergunta sobre UTD ser um ''western-oriented anime'' e os entrevistados falam sobre animes que são de fato feitos pela staff. Deixar que os cães da indústria se mordam no Japão e se focar em um novo público, sem depender de produtoras e interesses externos, que ficam capando as possibilidades de uma obra.
Outra parte que eu achei realmente interessante foi quando falaram sobre Design. No Japão os design de sci-fi são mais focados em simbolismos do que ''funcionalidade''. É só olhar para os Robôs-Samurai de Gundam e os Humanoides 'Armadurados' de EVA que isso fica nítido. Enquanto desse lado do globo o foco é ser o mais plausível possível.
Mas nem todo Mecha é assim. existe historias de Mechas onde os Mechas são funcionais. A questão é a popularidade.
