Allies, Tanaka, will talk about Okada

Author: lazy mind off

Cover: “The soul wants to shout”

Drop ball between script and painting

In order to commemorate the 20th anniversary of Okada’s animation scripting career and the supervised debut of “The Early Morning with the Flower of the Appointment”, the art magazine “Eureka” produced a supplement to Okada’s total special edition, and invited many writers and critics. The researchers wrote an article to analyze the unique charm of Okada’s “Destruction of Youth and Acura Youth”.

In the special feature, an interview with Changji Longxue and Tanaka, the two ally of “Super Peace Destroyer”, was formed together with Okada. In the eyes of them who have worked closely with Okada, what kind of creator is Okada?

Tanaka will congratulate and Okada Yuri for “Dragon and Tiger!” “Becoming a close, and with the long-term work of the same works, Changjing Longxue formed an animation production group “Super Peace Destroyer” and co-created “We still don’t know the name of the flower we saw that day.” Two popular works (hereinafter referred to as “flower name”) and “Heart wants to shout” (hereinafter referred to as “heart call”). When Okada published an autobiography, “I couldn’t go to school before I wrote “, I invited Tanaka to draw a cover for it. In Okada’s latest work, “The Morning with the Flower of the Appointment,” Tanaka also participated as a supervisor of the painting.

However, in “Dragon and Tiger! Before, Tanaka will never have an interest in the name of the scripter.

Although animation is a collective creation, there is no chance to meet between the scriptwriter and the mid-level painter who is the leader of the pre-production. What you get in your paintings is also a mirror based on the script, not the script itself.

Even in “Dragon and Tiger! In the first cooperation, Tanaka did not meet with Okada because of his work.

He participated in “Dragon and Tiger!” “Because I am acquainted with the supervision of Changjing Longxue. Prior to that, the two had several cooperations as a single-set performance and painting supervision. When Longjing Longxue took over the supervision for the first time, he had invited Tanaka to serve as a person, but failed to achieve it. Go to the next “Dragon and Tiger!” “, Changjing sent an invitation again, and Tanaka was finally able to take over the commission.

When Tanaka joined, the script was already in progress. He couldn’t remember when he first saw Okada for the first time. Just remember that Changjing called himself and said, “I am drinking with the scripter Okada. Would you like to come over?” He was called to the izakaya and then complained to him.

If there is bitter water to fall, not only a long well. At that time, Tanaka himself was criticized by the people concerned because of the direction of the people. Okada also had a stomach fire for his own reasons. In this way, the three began to complain together.

Perhaps because of this reason, Okada’s first impression of Tanaka is “a person who is very loyal to himself”. He had a prejudice that didn’t know where he came from, and he thought that the scripters were old uncles with glasses. Unexpectedly, this time the scriptwriter is an ordinary woman who is not far from her age.


Next, the three people together made their representative “flower name” and “heart call”. The three core members of supervision, painting and scripting can work together three times, and it is rare in the animation industry. However, Tanaka said that it depends on the producers not giving them a chance. Otherwise, relying on themselves, it is impossible to achieve.

At the time, it was the production company A-1 Pictures who wanted to plan an original work and found a few generations of scripters. The plan proposed by Okada is the later “flower name”. Okada made a request: “Since I want to do it, I want to do it with the group of “Dragon and Tiger!”.” Coincidentally, Aniplex’s producer Saito Sasuke also likes “Dragon and Tiger!” 》. So, they went to find Longjing first, then they found Tanaka in the same way, and invited them to create the work together.

This is the first time that Tanaka has participated in a work from the stage of production planning. The first time I tasted the feeling of creation, it was also the first time he saw what Okada’s work was like.

The “flower name” work is blunt, and you can guess the end when you see the beginning. In the end, it is definitely to over-exaggerate the face and there will be no other endings. Therefore, when designing the character image, Tanaka also generally guessed the scope of acting.

In terms of the intensity of acting, because the three have been in the “Dragon and Tiger!” In the cooperation, Tanaka also understands that the direction is “the extension line of “Dragon and Tiger!”. Therefore, when he created the character image, he fully utilized himself in “Dragon and Tiger!” Lessons learned in the book.

This kind of introspection, specifically, is “whether or not the beautiful girl should be designed from which angle to look good.” As a supervisor and a mirror, Changjing is very unrelenting. If this scene is important, he will not paint a positive shot for the sake of saving. For example, the last scene of the face code and Ren Tai is like this, and it has always been the performance of the picture code with the elevation angle.

When Tanaka does not want this kind of shot, the audience will be distracted by the picture and want to let the audience be fully attracted to the performance. In this way, he must design the character to withstand this perspective.

It is very difficult to draw a girl from the elevation angle and look good. The elevation angle of the scene mentioned above is very daring. From that angle, the meat under the chin of the face code can be seen. Tanaka is “Dragon and Tiger!” “I didn’t think so much when designing the character image. When I actually painted, I suffered a lot. When he waited for the “flower name”, he learned it.

When I first heard the idea of ​​”flower name”, Tanaka only found it interesting. If he is an audience himself, he will think a lot and feel that “There is no other way?”. However, once you join the work as a creative party, you will basically only accept the opinions of others, and you only want to build the building blocks on this basis. It’s hard to say that it’s the attitude of “doing what you say is what you are doing”.

Therefore, when the “flower name” only had the idea put forward by Okada, Tanaka also held the mentality of “Oh to do such a thing”, and the left ear went into the right ear. After the actual start, he began to have a more specific understanding of the work. It can be said that he is in the process of making a little bit of the taste or depth and multi-layeredness of the “Famous” story.


Speaking of the painting of “flower name”, it is impossible to mention the women’s clothing of the role of snow. The realistic feeling of “high school boys forced to put on skirts” left a deep impression on all the audience.

Tanaka said that he originally designed a set of vetoes for the “Famous Name” and wanted to be more “comicized.” In the set of people, the only bright spot is the women’s clothing in the snow. When setting the snow collection to wear women’s settings, there is no other option in Tanaka’s mind.

Changjing always tried to stop Tanaka and said, “Can you pass this painting?” But Tanaka refused: “No, I have made a lot of concessions.” “If I let me draw a snow set normally, then Wearing him for women, you can get more than this spicy eye. This has taken care of the audience.”

Of course, Tanaka is also uneasy about this design, but he still feels that if it is not painted, it makes no sense. If you design the ordinary kind of “paint a soft sister and say that he is a man”, then the audience will only think that this is the cliché of the animation. However, the “flower name” is different. This work itself is a more realistic route, where people can see what is embarrassing, how can they not draw in the picture?

In the end, the snow set in the animation only took the wig down. But this still makes Tanaka feel very sorry: he set the front image of the snow set with a wig.

(Note: Tanaka is so attached to the women’s clothing in the snow, perhaps there is another reason: Okada 麿 承认 在 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认 承认The projection of personality. Okada did not mention this to Changjing and Tanaka, but it was still seen by two people and pointed out in the interview. This made Okada feel that he had encountered understanding through the “flower name”. Own people.)

The persistence of this “realism” is also “Dragon and Tiger!” One of the heritages. “Dragon and tiger! The original request made by the producer was “Beautiful Girl Animation”. However, all three people felt: “If you really want to respect this original work, how can you make a beautiful girl animation?” At that time, no one had rebutted the rebuttal, but this thought has been in his heart. Although they successfully completed the “Dragon and Tiger” according to the requirements of the producers! “, but the kind of resentment that “should be done in this direction!” was brought in by the beginning of the “flower name” planning.

In the creation of “Dragon and Tiger! At the time, they experienced a feeling of immersion. The creative method of the time, when it came to the “flower name”, rose a step. Therefore, they made this work in a direction that focused on real-life performances.

In the “flower name”, Tanaka himself participated in the script meeting for the first time. When the participants discussed that they should not include explanatory lines, Tanaka would stand up and say, “I will use the picture to explain here, no need for lines.”

For example, in the first episode of “Flower Name”, An Ming made a lot of psychological struggles to see the scene of Ren Tai, and An Ming would think that “Ren is too cold and indifferent.” This scene can express her feelings through the acting of the sound, so there is no need for lines.

The entire “flower name”, as early as the script stage, is full of throwing balls between the scripter and the painting. Okada can trust Tanaka and throw the ball that expresses his character’s emotions to him. Tanaka can also respond to Okada’s trust and stabilize the ball. There are so many famous scenes in this work, and there are also credits for this kind of production. Okada is very grateful to be able to rely on painting and writing such a script.

The lines written by Okada will also stimulate the inspiration of others. Tanaka said that Changjing is basically a type of person with him. Although he thinks that animation is basically “like animation”, in the framework of “like animation”, they want to explore “the role can be more realistic.” boundary. He and Changjing have been able to cooperate many times, and this is because of this intention. Therefore, just because Okada wrote such a line, Changjing can draw such a mirror, and finally Tanaka can draw such acting.

In the line of “Famous Names”, the most profound sentence of Tanaka’s impression is that after Ren Tai said “saying is like ‘like’, not just like a friend’s likes,” the face code replied: “I understand, I want to marry me, I like it.”

This sentence, let Tanaka feel what kind of role is the face code. If you change to another work, the character such as face code may be shaped to stay more natural and not understand the meaning of Rentai. But Okada will naturally let such characters speak more lively lines.

Okada creates a character and doesn’t just grasp his point of view. Tanaka felt that Okada himself was also a very contradictory person. She will put the “people’s inner is full of contradictions” into the script. This may be very difficult.

Even if Tanaka himself would think that “this character has not said this before!”, as long as you can understand the feelings that are not spoken, you will not care too much. Okada is very good at describing the indescribable feelings. In this kind of scene, her lines will be very meaningful. If you look at it separately, it is common, but “why would say such a thing at this time” is very esoteric. At this time, the map in the long well mirror will also become the painting that carries that kind of feeling.

Tanaka trusts the picture in the long well. Longjing followed his own feelings to draw a mirror that best reflects the character’s expression. However, after Tanaka’s paintings were handed over and Changjing made some corrections, Tanaka would throw the Changjing’s performance correction into the trash bin every time. The original painting corrected by Changjing would bring the color of the long well. It became a scent of misery.

What Tanaka likes is pure and fresh when he just changed from a script to a mirror. How to keep this charm and pass it on to the audience is the challenge he has been trying.


Fighting and fighting in the “Super Peace Destroyer”

After the success of the “flower name”, the producer began to calculate, and then the original class made a movie.

Okada and Lieutenant Tanaka will jointly plan a new work. Tanaka listed all the things he wanted to do, and Okada put together these ideas and wrote them into a synopsis. The story that the two men came up with at the time was more fanciful than the “heart call” we saw. It is a style similar to the science fiction work of Fujiko F. Fujio. If you dig deep, it may involve trouble. theme.

This draft was finally rejected by Changjing Longxue. He said: “As our first theater work, this content is a bit heavy.” So the three people forgot all the settings already in place, only retaining the elements of the character, starting from scratch. “Heart call” is born like this.

Although the scene of Cheng Shun’s work in the works is basically the same as the original draft, the story is completely rewritten. The trio took a long time to conceive the outline of the “heart”. Although after the “flower name”, Tanaka and Nakai worked together on the original animation “Wait for you in the summer”, but in fact, during that time, “heart” has been preparing for the surface under the water.

Okada mentioned in her autobiography, “I can’t go to school before I write “, the script work of “Heart Call” is full of disputes, and the progress is not smooth. Tanaka even suspected that this work is going to die like this. At that time, the differences between Okada and Changjing were so great that Tanaka felt completely unaware of how to bridge the two.

The reason for the twists and turns of scripting is simple. It’s Changjing’s saying: “You write to me like this.” Okada finished, and Changjing said: “It’s not that you write, why don’t you write as I said?” The process is repeated, and the two are no longer Use logical communication, but use emotional confrontation.

Tanaka believes that it is precisely because of the successful experience of “flower name” that such a quarrel will occur. It is clear that it has been going smoothly all the way, including the producers. No one thinks that the semi-central will become like this.

(Note: According to Okada’s autobiography, animation is clearly a product of collective creation, but because of the concerns of the media, when reporting the “flower name”, it always highlights the individual color of Okada. Changjing has also complained. “The ‘flower name’ is your thing.”

(Also note: Okada mentioned in the interview of Eureka that she had a complete disagreement with a male supervisor and felt that such work could not continue and decided to listen to the supervision completely, but it was still not smooth. Next, Okada began to lose sleep, dizziness, fear of quarreling in the end will be dominated by male supervision, and even consider whether he should withdraw from the middle. Combined with the narrative in the autobiography, this experience may be called “heart call”.)

In this state, “heart call” is really hard to reach the end.

Tanaka said that what he wants to express through “heart call”, what Changi wants to express, and what Okada wants to express until the end are different. Despite this, Okada finally wrote the script, and they completed the mining of the role based on the script. The work has not been completely destroyed, and it is already a blessing in misfortune.

(Note: Although Tanaka did not say it himself, in this “hard” process, he made a lot of efforts to rush between the two, and provided a psychological punishment for Okada who was afraid to attend the script meeting at home. stand by.)

In the process of production, Tanaka finally understood what Changjin said, “Why don’t you write as I said?” In the end, how to write, but the past has passed, and then regret “if you did how” Meaning, so Tanaka does not feel that there is any regret left. Besides, the lively charm of the Okada script has been preserved in the long hole’s mirror, without loss.


After experiencing a lot of twists and turns of “heart call”, I finally went to the supervision of Okada, and made a topic of “preparing the early morning with the agreed flower.”

Before the three people were drinking together, Okada once said: “I want to be supervised.” Changjing listened and said: “That’s our turn. This time Okada is supervised, next time Mr. Tanaka. It’s just fine.” Okada said: “I don’t know the scene.” Changjing said, “I’ll see it on the spot.”

Therefore, when I learned that Okada really wanted to be supervised by myself, Tanaka was not surprised. He just thought: “You still have to come by yourself.” What surprised him was not the news itself, but the luxurious cast. The table can be said to be the gambling of Okada’s own personal connections in the past 20 years. Cooperation with the family has been supervised over the past few years.

In the interview, Tanaka did not see the finished feature film. However, he participated in the work as a painting supervisor and knew about the story. He felt that this time is also a story with a Okada style.

In addition, the original case was Yoshida Akiko, and it surprised Tian Zhong. Yoshida is the designer of his favorite game. He and Okada are both diehard fans of Yoshida. The excitement of “I didn’t expect to move him” made his enthusiasm rise all of a sudden.

The protagonist’s living method is very Okada’s style, and the image designed by Yoshida is also very attractive, so that Tanaka feels a little unwilling: I want to take a more important position and participate in more parts!

A long time ago, Okada once asked Tanaka to draw the original painting. At that time, he wanted to ask him to be responsible for the scene at the beginning, and Marcia picked up the original painting of the baby Eliar. But at the time, Tanaka was busy with other work, and he was only able to give up.

In the summer of last year, Okada contacted Tanaka and said, “Can you please help me a little?” Tanaka heard that Changjing, who had just finished “Mobile Suit Gundam”, joined the work midway. I think: This lineup, you can not participate.

Tanaka is responsible for the birth of Tita in “The Early Morning with the Flower of the Appointment”. This can be called him: “I have never experienced a big man, and I know how to paint a woman when she has a baby!” However, fortunately, the original painter in charge of this scene seems to have personal experience and said “It is not a big move according to the position of the split mirror”, and the posture of the character has been greatly modified – it can be seen that this split mirror is also not in the delivery room. There is no other way in Tanaka. Since people who know people say this, then listen to others.

However, Tanaka is very happy to let Okada supervise assign such an important scene to himself.

As a supervisor of the painting, Tanaka also had a meeting with Okada as the supervisor for the first time. Deputy Superintendent Sugawara Sugawara and on-site producer Sakagawa Hiroshi also attended the meeting. The two of them were more aware of the scene than Okada’s supervisor.

At the meeting, Okada first tells what he wants to make this scene, and then the other two add some technical things. Tanaka felt that they really did let Okada do this supervision by speaking. It was a good studio to respect her.

The scene in charge of Tanaka is quite special, and some places use language to make it unclear. But in the meeting, Okada still fully expressed the intention and impression of “want to create effects through the marriage of childbirth and war switching.” Since it is a script written by herself, there will be a clear image in her mind, and it is a matter of course to say it. In addition, when Tanaka joined in, the production has been going on for a long time, so he felt that Okada was very used to explaining his intentions at the meeting.

Tanaka felt that a good supervision is a person who can ask others to follow him regardless of their good or bad. Even if there are twists and turns in the middle of the production, it is easier to work as long as you can see what he wants to do. On the other hand, a good gentleman who does not provoke anyone to hate to do supervision will actually work hard.

When the supervisor starts the meeting, he can be confused. Others will only feel “ah, there are many ideas in his heart that are tangled.” However, if it is always in the end, it will not work. Others will think, “Does this person not know what to do?” This hesitation will also be reflected in the picture.

In this respect, Changjing can point out “give me to go” at a very early stage and determine the direction of the work, so the efficiency of meeting with him is very high.


In the theater booklet of “Participating in the Morning with the Flower”, Okada said that she experienced through her own supervision experience and needed to supervise the “points” that connected the scripts and pictures. Tanaka said: Since there is such an experience, can we take care of our paintings when writing scripts later…

But then again, if Okada is thinking about how to make a good painting and lose his own style, it will be boring. “Do not add trouble to the scene”, does not mean that this is good supervision, good script, good painting. It is not good to take care of the scene, but it is not just taking care of the scene. This boundary is also difficult to distinguish.

As a creative person, if you feel that it is necessary, you sometimes have to take care of others. At this time, what matters is how others view the principle of this person. If you can make all the production staff feel that “although it seems unreasonable, but since it is the request of this person, then you have to find a way to achieve it” or “If it is for this work, then you have to find a way to achieve it”, then Just won. How to create this kind of atmosphere is the key.

However, Tanaka felt that Okada was not the kind of person who would be worried about others, so he did not have to worry that Okada would change his style and worry too much about the scene. In this respect, Tanaka, Changjing and Okada are also very similar. As long as it is a work that you do not participate in, it will not be a problem for a group of people. But once the results of the work that I participated in are in front of me, it is like pressing a switch, in order to make the work better and face the red neck and thickly advocate “no, still do it!”. Therefore, he believes that even after a supervision, Okada will not change.

In fact, Tanaka is the “name of yours.” “Supervising Xinhaicheng is also such a person. It seems that people who are always smiling are very good, but places that cannot be relegated will never give in. Even if they are criticized, they will never give up what they want to do.” It is because of such people that the works they make can be trusted.

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Original address: “Super Peace Destroyer”‘s Struggle and Infighting – Anitama – Reasonable Anime Media

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