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

 

Orange Reveals the Making of Trigun Stampede

by Caitlin Moore, Apr 10th 2023 

 

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

 

 

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.

 

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

 

毫无疑问，Trigun Stampede panel 是Sakura-Con上参加人数最多的panel之一。队伍围绕着会议中心顶层的墙壁延伸，几十个Wolfwood惩罚者的道具靠在墙上，而Vash, Meryl, and Wolfwood的角色扮演者则在彼此之间聊天。小组讨论的房间非常大，整个房间里弥漫着一种几乎可以感觉到的期待感。

 

三位小组成员是《宝石之国》、《BEASTARS》和《Trigun Stampede》的首席制作人和气澄贤；《Trigun Stampede》的导演武藤健司；以及Orange的制作人渡边义弘，他主要从事商业方面的工作。他们通过播放与该剧大结局一起播出的宣传视频拉开了小组讨论的序幕，渡边解释说最后一集既是 "第12集 "也是 "第0集"。他们没有任何关于 "最后阶段 "的分享，尽管他们确实补充说他们正在对措辞进行非常具体的说明。

 

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.

它从哪里开始？

谈话在这个问题上认真地拉开了序幕： "从哪里开始的？ 和气澄贤讲述了他是如何在Madhouse开始他的动漫生涯的，然后转到以制作细田守的电影而闻名的Studio Chizu，最后才来到Orange。武藤健司指出，他从小就阅读《周刊少年Jump》。他的职业生涯从音乐视频和PV开始，当他在一个聚会上遇到丸山正夫（Madhouse的创始人）并向他提到他想从事更长的项目时，他进入了电视动画。和气澄贤说他们都认识丸山，而武藤健司是由Trigun的原导演西村聪指导的。渡边义弘评论说，他们所有人都与1998年的系列有联系。

 

从那里，他们讨论了Trigun Stampede的制作起源。这是一部不寻常的改编作品，刻意改变了原作漫画的故事和结构，看到它受到如此欢迎，他们感到高兴和欣慰。他们想扩大Trigun的世界，而不仅仅是继续每周的小反派。原先的漫画家内藤泰弘（Yasuhiro Nightow）对他们的想法很感兴趣；该系列中出现的许多东西都是工作人员与内藤泰弘一起喝酒、吃饭和讨论的产物。

 

渡边提到，制作过程异常漫长-5年而不是工作室通常的3年。和气澄贤说，在每一个步骤中他们都遇到了问题。此外，他们只花了两年时间开发面部动画技术，以确保角色有足够的表现力。

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.

 

创意开发

在这里，团队展示了一幅vash坐在一个岩，俯视着一艘坠毁的宇宙飞船和周围的城市。武藤健司称这是由最初的角色设计师和概念艺术家田岛光二创作的数百件概念艺术中的第一件。概念艺术并不是要在节目中出现，而是要为作品建立一种世界感、情绪和基调，并激发工作人员的灵感。对于 Stampede制作团队希望在西部类型的感觉之外，还能建立起科幻元素的设定。

他们浏览了各种概念艺术作品，讨论了每一个作品。其中一个是为了表达vash使事物消失的能力的感觉，这不是一个黑洞，而是人类未知的类似的东西。他们深入讨论的一个细节是vash和knives的服装：两人的夹克上都有兜帽。Knives戴上兜帽而不是摘下兜帽的时候，有一种象征意义。武藤强调说，虽然vash的外套有一个兜帽，但他从来没有戴起。他们还展示了一张世界地图，用它来指出节目中的展现出内容是多么的少。

 

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.

该团队展示了显示几十页日文文件的幻灯片。他们解释说，编剧团队对Trigun有很深的爱，甚至重读了原版漫画，以更好地掌握它；他们考虑了改变诸如色调等事情背后的象征意义。对于Stampede，他们写了几百页的传说故事，列出了在剧中从未出现过的时间线和世界历史，目的是充实环境，并为一切事物的发展创造理由。

The meaning of design

 

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.

 

设计的意义

 

在这一点上，他们切换到了Vash的幻灯片上，引起了观众的赞叹。武藤详细介绍了Vash的兜帽的象征意义，以及他的发型变化是如何预示着他的性格转变和 "觉醒"。由于该系列的背景是在儒来毁灭之前，Stampede中的Vash版本意在成为一个更天真、"不完美 "的Vash版本。

渡边向观众保证，他们对角色设计和细节的讨论并不是基于他们的喜好或偏爱，而是考虑为什么角色是这样的，以及他们的外表将如何传达这一点。他们在这方面的例子是Wolfwood，他穿的是西装，但看起来总是很寒酸，这与Livio形成了鲜明的对比，后者看起来很时尚，很有气质。

他们的最后一个例子不仅涉及到角色设计，还涉及到世界和道具设计：两张Vash赏金的 "通缉 "海报，一张是节目的开始时的海报，一张是节目的结束时的海报。（儒来毁灭后）他们指出，虽然最明显的变化是赏金的数额，但还有其他更微妙的变化。[Each was supposed to be the cost of a single plant—what happened to make that change so much](这句我不知道怎么翻译)-发生了什么事让这个变化如此之大？他们谈到，第一笔赏金上有儒来的官方印章；然而，由于城市被摧毁，印章改变了，以表达那里已经没有东西了。即使是 "儒来 "这个名字，在英文和中文中也有双重含义，是为了表达在那里存在的各种人。

 

PS:切片介绍海报的部分不全。切片中提到了July因为翻译问题不能用日语发音版本，Julai听起来像中文词，所以城市背景设定就像亚洲

 

 

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!

渡边说，团队不断地设立角色问题，来指导他们的工作过程，而答案在小细节中显现出来。甚至将Vash的枪改为点22，也是这些考虑的一部分。顺便说一下，这是内藤泰弘的主意，所以如果你对此感到生气，请怪他！

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.

动画制作方法

在这一点上，和气澄贤把话题从设计过程转移到了动画上，展示了他们为设计的不同元素所使用的不同软件，比如一个引擎用于测试表情，一个用于创建阴影。由于三维动画从不同的角度看会很奇怪，甚至有一个程序用于扭曲模型，以防止摄像机移动时发生这种效果。仅仅创造人物表情的过程就花了两年时间。

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.

从想法到画面

渡边、武藤和和气澄贤回答了 "你如何使场景和故事发生？"的问题，展示了两段视频，说明动画从开始到结束的情况。第一段是一个块状的测试图，它在逃跑时跳跃和奔跑，这将成为第二集的Vash。他们还展示了四段Vash和knives的战斗视频：一个分镜版，两个正在制作的版本，以及播出的最终版本。最终的产品与分镜有很大的不同，看到不同的细节在不同的阶段被添加，如knives的刀片触手，这很吸引人。

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

武藤解释说，由于一些原因，最终产品可能与分镜有相当大的差异。戏剧性的场景往往紧跟分镜，但对于动作场面，他们鼓励动画师在制作上打上自己的烙印，并与导演团队合作，最大限度地提高战斗的表现力。

 

他们重申，虽然他们没有任何确切的日期，但日本的蓝光版即将发行，而且对美国观众来说更重要的是，最终阶段很快就会到来。他们承认，虽然观众中几乎每个人都可能已经看过 Trigun Stampede，但我们都应该鼓励我们的家人和朋友也去看。(PS:日版蓝光已经发售两卷了。第三卷6.21号发售)

 

武藤以声明结束： "正如你们所知，Vash拒绝暴力。Trigun Stampede是关于他如何学会处理这个问题，在最后，他接受了最低限度的暴力。展望未来，该剧将是关于VASH努力寻找如何以最小的暴力发挥最大的作用"。