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Orange Reveals the Making of Trigun Stampede - Sakura-Con 2023 - Anime News Network

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Orange Reveals the Making of Trigun Stampede

by Caitlin Moore,?Apr 10th 2023?

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ANN's coverage of Sakura-Con sponsored by Yen Press!

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Without a doubt, the Trigun Stampede panel was one of the most-attended at Sakura-Con. The line stretched around the walls of the top floor of the convention center, with dozens of props of Wolfwood's Punisher leaned up against the wall while Vash, Meryl, and Wolfwood cosplayers chatted amongst themselves. The room the panel was hosted in was enormous, an almost palpable sense of anticipation permeating throughout.

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The three panelists were Kiyotaka Waki, the lead producer for Land of the Lustrous, BEASTARS, and Trigun Stampede; Kenji Mutō, the director of Trigun Stampede; and Yoshihiro Watanabe, a producer for Orange who mostly works on the business side. They kicked off the panel by showing a promotional video that aired along with the show's finale, and Watanabe explained that the last episode had been both “episode 12” and “episode zero.” They didn't have anything to share about the “Final Phase,” although they did add that they are being very specific about the wording

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毫無疑問，Trigun Stampede panel 是Sakura-Con上參加人數(shù)最多的panel之一。隊伍圍繞著會議中心頂層的墻壁延伸，幾十個Wolfwood懲罰者的道具靠在墻上，而Vash, Meryl, and Wolfwood的角色扮演者則在彼此之間聊天。小組討論的房間非常大，整個房間里彌漫著一種幾乎可以感覺到的期待感。

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三位小組成員是《寶石之國》、《BEASTARS》和《Trigun Stampede》的首席制作人和氣澄賢；《Trigun Stampede》的導演武藤健司；以及Orange的制作人渡邊義弘，他主要從事商業(yè)方面的工作。他們通過播放與該劇大結局一起播出的宣傳視頻拉開了小組討論的序幕，渡邊解釋說最后一集既是 "第12集 "也是 "第0集"。他們沒有任何關于 "最后階段 "的分享，盡管他們確實補充說他們正在對措辭進行非常具體的說明。

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Where did it start?

The talk kicked off in earnest with the question: “Where did it start?” Waki told of how he started his career in anime first at?Madhouse, then moved to?Studio Chizu, which is best known for working on?Mamoru Hosoda's movies, before finally coming to?Orange. Mutou noted that he'd read?Weekly Shonen Jump?since a child. He started his career working on music videos and PVs, and entered TV anime when he met?Masao Maruyama, the founder of?Madhouse, at a party and mentioned to him that he wanted to work on longer projects. Waki said that they both knew Maruyama, and that Mutou was mentored by?Satoshi Nishimura, the original director of?Trigun. Watanabe commented that all of them had a connection to the 1998 series.

From there, they discussed the origins of?Trigun Stampede's production. It was an unusual adaptation that deliberately altered the story and structure of the original manga, and they were happy and relieved to see it so well received. They wanted to expand the world of?Trigun, rather than just continue with small villains of the week. The original manga artist,?Yasuhiro Nightow, was interested in their ideas; many things that show up within the series are the product of time the staff spent drinking, eating, and talking with Nightow.

Watanabe mentioned that the production process was unusually long—five years instead of the studio's typical three. Waki said that at every step of the way they ran into problems. Furthermore, they spent just two years developing their facial animation technology to ensure the characters would be expressive enough.

它從哪里開始？

談話在這個問題上認真地拉開了序幕： "從哪里開始的？?和氣澄賢講述了他是如何在Madhouse開始他的動漫生涯的，然后轉到以制作細田守的電影而聞名的Studio Chizu，最后才來到Orange。武藤健司指出，他從小就閱讀《周刊少年Jump》。他的職業(yè)生涯從音樂視頻和PV開始，當他在一個聚會上遇到丸山正夫（Madhouse的創(chuàng)始人）并向他提到他想從事更長的項目時，他進入了電視動畫。和氣澄賢說他們都認識丸山，而武藤健司是由Trigun的原導演西村聰指導的。渡邊義弘評論說，他們所有人都與1998年的系列有聯(lián)系。

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從那里，他們討論了Trigun Stampede的制作起源。這是一部不尋常的改編作品，刻意改變了原作漫畫的故事和結構，看到它受到如此歡迎，他們感到高興和欣慰。他們想擴大Trigun的世界，而不僅僅是繼續(xù)每周的小反派。原先的漫畫家內藤泰弘（Yasuhiro Nightow）對他們的想法很感興趣；該系列中出現(xiàn)的許多東西都是工作人員與內藤泰弘一起喝酒、吃飯和討論的產物。

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渡邊提到，制作過程異常漫長-5年而不是工作室通常的3年。和氣澄賢說，在每一個步驟中他們都遇到了問題。此外，他們只花了兩年時間開發(fā)面部動畫技術，以確保角色有足夠的表現(xiàn)力。

Developing the concept

Here, the team put up an image of Vash sitting on an outcropping, gazing down at a crashed spaceship and the city around it. Mutou called it the first of hundreds of pieces of concept art created by?Koji Tajima, the original character designer and concept artist. Concept art isn't meant to show up in a show, but rather to build a sense of world, mood, and tone for the production and inspire the staff. For?Stampede, the production team wanted to build on the science fiction elements of the setting in addition to the Western genre feeling.

They went through various pieces of concept art, discussing each one. One was meant to convey the feeling of Vash's power to make things disappear, which isn't a black hole but something unknown to humans that works similarly. One detail they discussed in depth was Vash and Knives' costume: both have hoods on their jackets. There's symbolic significance to the times when Knives has his hood up as opposed to when he has it down. Mutou emphasized that while Vash's jacket has a hood, he never puts it up. They also showed a map of the world, using it to point out just how little had been depicted in the show.

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創(chuàng)意開發(fā)

在這里，團隊展示了一幅vash坐在一個巖，俯視著一艘墜毀的宇宙飛船和周圍的城市。武藤健司稱這是由最初的角色設計師和概念藝術家田島光二創(chuàng)作的數(shù)百件概念藝術中的第一件。概念藝術并不是要在節(jié)目中出現(xiàn)，而是要為作品建立一種世界感、情緒和基調，并激發(fā)工作人員的靈感。對于 Stampede制作團隊希望在西部類型的感覺之外，還能建立起科幻元素的設定。

他們?yōu)g覽了各種概念藝術作品，討論了每一個作品。其中一個是為了表達vash使事物消失的能力的感覺，這不是一個黑洞，而是人類未知的類似的東西。他們深入討論的一個細節(jié)是vash和knives的服裝：兩人的夾克上都有兜帽。Knives戴上兜帽而不是摘下兜帽的時候，有一種象征意義。武藤強調說，雖然vash的外套有一個兜帽，但他從來沒有戴起。他們還展示了一張世界地圖，用它來指出節(jié)目中的展現(xiàn)出內容是多么的少。

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Where did they come from? Where do they go?

The team displayed slides that showed dozens of Japanese document pages. They explained that the writing team carried a deep love of?Trigun?and even reread the original manga to get a better grasp on it; they considered the symbolic meaning behind changing things like the color pallette. For?Stampede, they wrote hundreds of pages of lore documents, setting out timelines and world histories that never appear in the show, for the sake of fleshing out the setting and creating reasons for everything to be the way it is.

該團隊展示了顯示幾十頁日文文件的幻燈片。他們解釋說，編劇團隊對Trigun有很深的愛，甚至重讀了原版漫畫，以更好地掌握它；他們考慮了改變諸如色調等事情背后的象征意義。對于Stampede，他們寫了幾百頁的傳說故事，列出了在劇中從未出現(xiàn)過的時間線和世界歷史，目的是充實環(huán)境，并為一切事物的發(fā)展創(chuàng)造理由。

The meaning of design

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At this point, they switched to a slide of Vash, eliciting coos of adoration from the audience. Mutou spoke at length about the symbolic meaning of Vash's hood, and how his change in hairstyle was meant to signal a character shift and his “awakening.” Since the series is set before the city of Julai was lost, the version of Vash in?Stampede?was meant to be a more naive, “imperfect” version of Vash.

Watanabe assured the audience that their discussion of character design and details wasn't based on their preferences or favoritism, but rather considering why the characters are the way they are and how their appearances would communicate that. Their example for this was Wolfwood, who wears a suit but always looks shabby, and how that contrasts with Livio, who looks stylish and put-together.

Their final example touched not just on character design, but world and prop design: two “Wanted” posters of Vash's bounty, one from the start of the series and one from the end. They pointed out that while the most obvious change is the amount of the bounty, there are other, more subtle changes. Each was supposed to be the cost of a single plant—what happened to make that change so much? They talked about how the first bounty bears the official stamp of Julai; however, since the city was destroyed, the stamp changed to convey that there was no longer something there. Even the name “Julai,” with a double meaning in English and Chinese, was meant to convey the variety of people that existed in it.

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設計的意義

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在這一點上，他們切換到了Vash的幻燈片上，引起了觀眾的贊嘆。武藤詳細介紹了Vash的兜帽的象征意義，以及他的發(fā)型變化是如何預示著他的性格轉變和 "覺醒"。由于該系列的背景是在儒來毀滅之前，Stampede中的Vash版本意在成為一個更天真、"不完美 "的Vash版本。

渡邊向觀眾保證，他們對角色設計和細節(jié)的討論并不是基于他們的喜好或偏愛，而是考慮為什么角色是這樣的，以及他們的外表將如何傳達這一點。他們在這方面的例子是Wolfwood，他穿的是西裝，但看起來總是很寒酸，這與Livio形成了鮮明的對比，后者看起來很時尚，很有氣質。

他們的最后一個例子不僅涉及到角色設計，還涉及到世界和道具設計：兩張Vash賞金的 "通緝 "海報，一張是節(jié)目的開始時的海報，一張是節(jié)目的結束時的海報。（儒來毀滅后）他們指出，雖然最明顯的變化是賞金的數(shù)額，但還有其他更微妙的變化。[Each was supposed to be the cost of a single plant—what happened to make that change so much](這句我不知道怎么翻譯)-發(fā)生了什么事讓這個變化如此之大？他們談到，第一筆賞金上有儒來的官方印章；然而，由于城市被摧毀，印章改變了，以表達那里已經(jīng)沒有東西了。即使是 "儒來 "這個名字，在英文和中文中也有雙重含義，是為了表達在那里存在的各種人。

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PS:切片介紹海報的部分不全。切片中提到了July因為翻譯問題不能用日語發(fā)音版本，Julai聽起來像中文詞，所以城市背景設定就像亞洲

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Who are you? Why are you?

Watanabe said that the team was constantly asking these questions of the characters to guide their process, and the answers showed up in the small details. Even changing Vash's gun to a .22 came about as part of these considerations. By the way, that was Nightow's idea, so if you're mad about it, blame him!

渡邊說，團隊不斷地設立角色問題，來指導他們的工作過程，而答案在小細節(jié)中顯現(xiàn)出來。甚至將Vash的槍改為點22，也是這些考慮的一部分。順便說一下，這是內藤泰弘的主意，所以如果你對此感到生氣，請怪他！

Animation approach

At this point, Waki shifted the topic from the design process to the animation, showing off the different software they used for different elements of the design, such as one engine for testing expressions and one for creating shading. Since 3D animation can look strange from different angles, there was even a program for warping the model to keep that effect from happening as the camera shifted around. The process just for creating the characters expressions took two years.

動畫制作方法

在這一點上，和氣澄賢把話題從設計過程轉移到了動畫上，展示了他們?yōu)樵O計的不同元素所使用的不同軟件，比如一個引擎用于測試表情，一個用于創(chuàng)建陰影。由于三維動畫從不同的角度看會很奇怪，甚至有一個程序用于扭曲模型，以防止攝像機移動時發(fā)生這種效果。僅僅創(chuàng)造人物表情的過程就花了兩年時間。

From idea to picture

Watanabe, Mutou, and Waki answered the question of “How do you make scenes and story happen?” by showing two videos illustrating how the animation looked from start to finish. The first was of a blocky test figure leaping and running as it fled, which would become Vash in the second episode. They also showed four videos of Vash and Knives fighting: one of the storyboard, two in-process versions, and the final version that aired. The final product differed significantly from the storyboard, and it was fascinating to see how different details were added at different stages, such as Knives' knife tentacles.

從想法到畫面

渡邊、武藤和和氣澄賢回答了 "你如何使場景和故事發(fā)生？"的問題，展示了兩段視頻，說明動畫從開始到結束的情況。第一段是一個塊狀的測試圖，它在逃跑時跳躍和奔跑，這將成為第二集的Vash。他們還展示了四段Vash和knives的戰(zhàn)斗視頻：一個分鏡版，兩個正在制作的版本，以及播出的最終版本。最終的產品與分鏡有很大的不同，看到不同的細節(jié)在不同的階段被添加，如knives的刀片觸手，這很吸引人。

Many, many other things

Mutou explained that the final product can differ quite significantly from the storyboard for a number of reasons. Dramatic scenes tend to follow the boards closely, but for action scenes, they encourage the animators to put their own stamp on the production and collaborate with the directorial team to maximize the fights' impact.

They reiterated that while they didn't have any precise dates, the Japanese Blu-ray release was coming up and, more importantly to US audiences, the Final Phase would come soon. They acknowledged that while pretty much everyone in the audience has probably already seen?Trigun Stampede, we should all encourage our family and friends to watch it too.

Mutou closed with the statement: “As you know, Vash rejects violence.?Trigun Stampede?is about how he learns to deal with that, and at the end, he accepts a minimum of violence. Going forward, the show will be about Vash trying to find how to be most effective with minimal violence.”

很多很多其他的事情

武藤解釋說，由于一些原因，最終產品可能與分鏡有相當大的差異。戲劇性的場景往往緊跟分鏡，但對于動作場面，他們鼓勵動畫師在制作上打上自己的烙印，并與導演團隊合作，最大限度地提高戰(zhàn)斗的表現(xiàn)力。

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他們重申，雖然他們沒有任何確切的日期，但日本的藍光版即將發(fā)行，而且對美國觀眾來說更重要的是，最終階段很快就會到來。他們承認，雖然觀眾中幾乎每個人都可能已經(jīng)看過?Trigun Stampede，但我們都應該鼓勵我們的家人和朋友也去看。(PS:日版藍光已經(jīng)發(fā)售兩卷了。第三卷6.21號發(fā)售)

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武藤以聲明結束： "正如你們所知，Vash拒絕暴力。Trigun Stampede是關于他如何學會處理這個問題，在最后，他接受了最低限度的暴力。展望未來，該劇將是關于VASH努力尋找如何以最小的暴力發(fā)揮最大的作用"。