“Girls ☆ Opera Revue Starlight” combines stage plays and plays to create a gorgeous stage effect that is refreshing. At present, the animation is being broadcasted, and the “ANIME BROS” July issue interviewed the film’s supervisor, Furukawa Tomohiro, to listen to the story behind Furukawa’s storytelling. .

At the beginning of the interview, Fuchuan recalled the original appearance of the plan, and there were some “enemies” of abstraction. The ordinary girls who worked hard in the drama school during the day would “start” to do something at night. Therefore, the original impression of Furukawa on the girl opera is that it is very difficult to make it an animation. .

And because each episode has to go to a specific scene, it is necessary to write on the script the specific scenes of the story of “the street in the high-rise at night” and the “mountain on the hill”, but in order to The scene does not appear in the animation, and can not copy the ordinary scenes that can be seen everywhere in real life, so many things must be designed. .

Not only do scene design, the two themes of “outside” and “stage” in the plan are also somewhat thin, and Furukawa thinks that every night the school’s underground stage will have enemies appearing, and then imported. The concept of a framed stage. That is to say, the stage in the animation is the same as the frame stage in reality, the overall frame of the stage will not change, and the movable device and the stage background on the stage will be changed according to the different performances. On the basis of ensuring the unification of the most basic stage visual elements, it is necessary to let the visual elements please the audience while making a sense of drama. .

However, Furukawa did not follow the original “enemy” setting. Furukawa believes that if the concept is not clear about the enemy’s design, then every word must be redesigned. At such a cost, the audience would not like it, so they gave up the enemy’s settings. In Furukawa, there are only three essential elements of the girl opera: the battle based on the stage play, the clothing based on the military uniform, and the handsomeness is more important than the cuteness. .

So redesigning the enemy compared to each episode, Furukawa is more inclined to fully demonstrate the charm of the nine characters. I hope that by letting the audience first feel the charm of any of the nine people, and then use this as an entrance to enjoy the work and all nine people. .

And to show the charm of all nine characters in a short space in a season, it can only be a form of fighting between characters, plus “song” is also an indispensable factor, so it will inevitably change In today’s animation, the combination of song and fight. In order to make the nine characters debut before the final return, it is inevitable to fight each other, so a rule is needed to judge whether to win or lose. Furukawa designed the rules for losing the shawl and losing the ground. .

In order to let the audience feel the realism from the animation, Furukawa hopes that the girl’s opera can be close to the real life through the daily elements of the tower, reminding the audience that the world of the girl opera is the extension of the world where she lives. As for why the tower is chosen instead of other props, this is because Furukawa wants to use the more common things in daily life to design the characteristic visual elements in the animation, but I don’t want to use the stairs and windows that are often seen in the animation. Playing rotten props, so I chose to go to the tower when I thought about it. .

In the Bible, the tower is a symbol of nobility, a taboo that is not allowed to touch, and the tower as a monument in the city is also close to the life of the inhabitants. Therefore, the tower is close to real life, and there are some theological meanings. So, Furukawa has integrated the tower into the animated drama, and through the drama of “The Story of Two Girls Stepping into the Taboo of the High Tower”, the daily drama The play is not split. And the tower has the same effect as the framed stage, and the appearance of each tower will remind the audience that the battle has always been on the same stage. As for the appearance of the giraffe, Furukawa said that the giraffe is an indispensable element in the original work (see the animation of several original Kunihiko), and the image of the giraffe is very similar to the tower.

Revue (playing on the stage) is the top priority of animation, and for this purpose, it has also made a special transformation of the garment to connect the bank to Revue. Furukawa explained that this is to express “the things they want to show” through the process of transforming Bank to Revue, and at the same time express the emotional collision of the characters. Dressing up and transforming is an indispensable element in the animation of the girl opera. The transformation of the traditional clothes will only make the work buried. From this aspect, Fucheon chose a more discerning dress making process. Bank. At the same time, Bank’s music was also created in accordance with the idea of Furukawa. In the production of the soundtrack of Bank, Furukawa asked to incorporate the female voice into the soundtrack, and also used the “Immigrant Song” of Led Zeppelin as a reference. .

In addition to the soundtrack of Bank, Furukawa also handed over the soundtrack of Philip J. Klass (American Composer Plus) to the composition. The Philip J. Klass-style soundtrack can show the purity of the school, and it can turn the daily routine of the nine protagonists into a beautiful melody. .

The soundtrack in the Transfiguration Bank is different from other scores. Furukawa intends to use a soundtrack that is different from the Bank style in Bank and call it a “crack” performance. At the same time, Furukawa also felt through this Bank production that it is difficult to convey the intuition of combining images and music to others. In the past, Furukawa asked several former Bang Yan about when the intuition of the performance came about. Several principles told Furukawa: “You can understand it in the work of Furukawa.” This time, the practice of real knowledge, Furukawa also grasped the performance through the sense of work. Intuition on the top. .

Interviewers appreciate that Fuchuan is also responsible for music, and it is for this reason that he can create a unique transformation of Furukawa. Furukawa said with a smile that the reason for doing a mechanical element is the transformation of Bank, which also includes the ambition to add different types of products to Bushido. Furukawa, who is an animator, wants to show the audience the charm of mechanical parts. .

Furukawa also hopes that the audience attracted by the nine lovely girls can use this as an entrance to experience the fun of different types of animation in the girl opera. Of course, everyone can go further to see the live-action stage play, and they can’t ask for it. However, Furukawa still hopes that the audience can find what they want through Revue Starlight. This is the most important thing. .

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Reference: ANIME BROS July