” DAHUFA Guardian and Mysterious Bean Man ” is known as an “unprecedented” challenge in Chinese domestic animation (released on July 23). It attracted attention as the first ” age-restricted anime ” in Chinese history, produced by Ray Saijoya Kagegyo and Koden Video and provided by an exciting movie. It drew attention as the first “age-restricted anime” in Chinese history. It gained enthusiastic support for its radical violence. Is.
In search of the disappeared crown prince from the royal palace, Duffer, the guardian of Eway, crossed the border and arrived at a mysterious village. The inhabitants here did not have their own will, did not speak, looked exactly like each other, and there was an eerie sign in the village. Eventually, Dufffa gradually approaches the secret hidden in this village.
In mainland China, where there is no rating system for movies and anime works are aimed at children, it was talked about that the production side voluntarily regulated “Please refrain from watching under 13 years old”. When it was released in China, it became a smash hit of about 1.35 billion yen and has been highly evaluated by anime fans.
This time, he served as the director, not思凡conducted interviews too. We asked him about the project’s background, the story behind the production, and his thoughts on being released in Japan.
First of all, could you tell us about the planning process of this work?
For this movie, I put out all my commitment to anime images. In a sense, it can be said that it is a work with a strong writer. I didn’t have the desire to make something like this. When I happened to want to make something new, the elements depicted in the play came to my mind. The theme I chose was “stopping society” and “stopping people’s thinking” that I wanted to draw most at that time. Sometimes I also feel like I’m stopped thinking.
In China, I think the idea of ”animation = for children” is still common. On the other hand, ” DAHUFA Guardian and Mysterious Bean Man ” is entirely for adults. What are your thoughts on this point?
This is a long-standing problem for the Chinese anime industry. However, in recent years, various anime works have become a hot topic, including ” DAHUFA Guardian and the Mysterious Bean Man, ” and I feel that my understanding of anime has expanded. If this trend continues, more people will watch anime, and creators will have to work hard to do better. By doing so, the audience and us creators should be able to grow together. As long as the Chinese economy continues to grow steadily, the cultural industry will also develop. However, it may take a little more time.
The audience who saw this work said, “It was well censored.” What are your thoughts on censorship in China?
I didn’t think so profoundly (laughs). Initially, I was planning to produce it as an anime work for distribution, so I wasn’t thinking about showing it in theaters. That’s why I was amazed that the theater screening was realized. Whether it’s a movie or an anime, ” DAHUFA Guardian and the Mysterious Bean Man ” may have been a new attempt. Our team has also hit a wall on the production side. The negative emotions that arose at that time may have melted into the work.
The design of the entire city and the character design was very bold and fresh. Have you been particularly conscious of the plan?
It all started when our staff happened to make an exciting doll out of clay. It is made to appear as a “mysterious creature” in the play. And one of the assistant directors likes graffiti and draws a lot. I felt that one of them was very attractive, and the main character of this work, Duffer, was born. Other characters, city design, etc., will be handled based on the contents of these two characters and the script.
What should be noted is a large amount of dialogue. The monologue scene is also impressive.
In this regard, it’s my writer or a creative habit. Perhaps it has something to do with Dufffer’s character. He is a wise man with wisdom, but at the same time, he has various troubles. While being confused, I will show my answers and views to multiple problems. It can be said that this is human growth, in a sense, human development. I wasn’t aware that there were many lines during the production, but after the screening in China, many spectators said that the main character was noisy (laughs).
The screening in China has become a hot topic, and it will be released in Japan this time. Please tell us your thoughts on this work again.
As I mentioned earlier, the release of the director was surprising. The experience with this work is just unique. Looking back now, I can see various problems and parts to reflect on, but from my perspective at the time of production, it was a “convincing work.
In the past of many, you will find what is missing and what you need to reflect on. However, I don’t think we can grow without past failures. That’s why I wish I could do my best and not give up even if it was a failure and lead to the next work-I always think so.
Would you mind telling us about the director himself? Why did you enter the anime industry?
In the old days, I wanted to be a manga artist. So I didn’t expect to be an animator. In China at that time, there was no ground for becoming a cartoonist. It was a difficult time to make a living as a manga artist. I worked for a telecommunications company for a long time. After the internet became widespread, I started making manga using FLASH.
Through the place of creation, I met many people and became friends. It was well-received by many viewers, so I was able to continue my activities. In the end, I couldn’t become a manga artist, but by chance, I was able to become an animator.
Can you tell us if there are any anime writers or other cultural figures that have influenced you?
Many people influence me. The first to be affected were Lianhuanhua (a palm-sized picture book published in China in the early 20th century that expresses a series of stories with one-page illustrations and headlines) and early Chinese animation.
I am also influenced by Japanese anime—for example, Osamu Tezuka, Akira Toriyama, Takehiko Inoue, Hayao Miyazaki, etc. For old Hong Kong movies, Hollywood movies, and works with solid authorship! Anyway, you are influenced by various works.
Are you planning the following work?
Now I’m making a new anime movie. The next is a state that has not been decided yet. However, if possible, I would like to challenge various “strange things” and “interesting things”