Some time ago, Kazuki Nakajima, a well-known animation scripter, held a symposium in Osaka City. Kansai furnace wind bucket Fu Russell Bay pressure making activities". This event was also held to commemorate the release of the work "The Complete Script of the Girl in Order", which collected the entire script of "The Girl in Order". In this work, there are not only 25 episodes of the plot of this work, but also the script of the 4-episode radio drama CD, and the commentary of Kazuki Nakajima's commentary. It can be said that it is the design book of "Chopping the Girl". In addition, Kazuki Nakajima also won the Best Screenplay Award at the NEWTYPE Animation Awards 2014 for the results of this work. Recently, some Japanese media have reported on this symposium in detail, let's see what this script master has to say!

■ The fun of reading animations with text

This time, the release of "The Complete Works of the Script of the Girl Who Cut the Girl" is also inseparable from the NEWTYPE editorial department. This is a special project launched by the editorial department. Reflecting on the process of its release, Nakajima said, "As for 'The Girl in Order', it is a work written almost by me, so it also has the value of being a 'work that belongs to me'. Unlike the anime that aired, I wanted my script to be read in this way. "Since the script of a TV anime has never been made into a book like this, it is very difficult for fans to see the script. Nakajima thinks that if you read the complete collection of the script of the girl who was subdued, you may be able to understand his language skills: "It would be great if there were many stars of anime scripts in the future because of this book." Some people in the industry also pointed out: "In a fast-paced TV animation production, few people can undertake the script creation of the whole episode, and such a 'complete script' is also priceless." Animation should also be like Hollywood works, and it is good to keep putting out scripted books. And the "reading" animation in the form of guò text can also add fun to our enjoyment of the work. I hope that in the future, ordinary viewers will also have more opportunities to get in touch with animation scripts.

■ The source of the fun of "Cutting the Girl".

For this event, the company has created an original menu, including "pork cutlet made from zuò that I don't know what kind of ingredients are made", "blood" & "pure" drinks, and so on. And the stage crew of this event toasted with this original drink. Participants who gathered at the site were able to enjoy their food while listening to Nakajima's discussion.

In the shopping area set up at the venue, participants lined up to buy the books.

In the first half of the exclusive event, Nakajima said that the background of the birth of "Cutting Girl" is inseparable from the influence of "Men's Group" and "TheGarmentsofCaean". The host of the scene believed, ""The Girl Who Cut the Girl" gives people the feeling of Masumura's work in the fifties and sixties of the last century. At that time, the style of Japanese cinema was to coexist with logic and speed. Nakajima admitted: "Actually, I've been chasing Masumura for the past two years. "It's refreshing and rhythmic, and it's an unforgettable experience after watching it. And the root of this kind of Japanese video entertainment is also the essence of "Cutting the Girl". Nakajima said, "We always say stories that embody human nature, but no matter what kind of work has a story, it is better to determine the premise of such troubles than to let the audience understand that a simple protagonist is troubled, and then further develop the plot." ”

And he should best embody this intention in the fourth episode "A Very Unfortunate Morning Has Come". Not only is it human, but the story is also played out in a very good rhythm. And the kind of character who always has a high feeling of exuberance is also created according to Nakajima's "principle of physiological pleasure". No matter what difficult situation he faces, the character will not be stuck there, but will never move forward. Such characters are not only interesting, but also make the audience feel very cool when they watch it.

In addition, the essence of Nakajima's style is the "name". Just looking at the title this time, it is reminiscent of the word play on "着る (KILL)", "naked (la)", and "斬る (KILL)". And this design further broadens the world of the work. In particular, on the one hand, the name of the character is "as the name suggests", and on the other hand, the pronunciation can also leave a vivid impression on the audience at the moment of hearing. For example, the name of the Ghost Dragon Temple's Tsuki was originally born by converting the pronunciation of "着る" to "Oni Dragon (きりゅう)". However, in order to make the pronunciation of (きりゅう) smoother, the name "Oniryuin (きりゅういん)" was adopted. The linguistic power of Nakajima's zào is also closely linked to the large-character slogan in red characters that emphasizes the sense of the picture. And the combination of Nakajima's inspiration and zào's creativity makes "The Girl in Disguise" a fun, charismatic and oppressive work that is "not clear what she is doing".

■In the face of fans' questions, Kazuki Nakajima answered them one by one

In the second half of the event, Nakajima was surrounded by questions from the audience. "During the two years that he has been waiting for Lord Haoyue in Ganjun, what is his daily life like?" "What is Iori's first person?" These enthusiastic fans have a strong interest in the details of the character. Nakajima, on the other hand, said that he would set them one by one according to the specific situation. For example, funny answers such as "Iori's first person is Iori" also made the scene laugh. And he is constantly adding new settings in the direct dialogue with the staff on the animation scene, and we seem to be able to imagine that kind of scene on the scene. Most of the questions are related to the characters in the work, which also reflects the strong charm of the characters in this work.

The characters in this work all have the characteristic of "not admitting defeat on the lips". Because of this principle, the characters often go toe-to-toe with each other, and they fight involuntarily. In episode 22 "Lips, Tell Your Story with Passion", the battle between the mouth cannon between Sew and Liuzi is impressive. "Words like 'I have friends' are so disgusting that I won't say them. And to this Liuzi said: "I don't plan to say such things. Friends aren't just words. It's probably something more 'confusing'. Full of ships as Mako and blood and the like, it's called friends. And the "confusing" that Nakajima's mouth says in this scene also reflects Nakajima's "confusing people's minds" that pervades the world of the work. Because of this, we can ensure a variety of perspectives when faced with a heroine who is only wrapped in a piece of cloth in the work. This also shows the theme of the work. According to the lines of his characters, Nakajima can also find the theme he wants to express. That's what he experienced when he wrote it. During the creative period, some incredible things that are difficult to predict logically also reflect the fact that the characters are alive in the world of the work.

At the beginning of the event, Nakajima announced, "I will answer everyone's questions sincerely, but I think my answer will only disappoint you." But in fact, the atmosphere of the whole discussion was very relaxed and wonderful, and the laughter of the audience never stopped.

After the exclusive event, Nakajima was interviewed by reporters.

Q: First of all, could you tell us about your thoughts after the event?

Nakajima: One fan said, "I'm glad you came to Kansai." And when I signed a sale at the bookstore a few days ago, there were many people talking to me. That alone makes me feel like this trip has not been in vain. And what worries me is, how many people will come to support this trip to Kansai? However, it also made me happy to see that the tickets for the symposium were sold out and the signing ceremony was unprecedented.

Q: How did you feel about meeting your fans face-to-face?

Nakajima: Needless to say, the fans of "Girl in Disguise" are very enthusiastic, and there are many people who love the character. At the same time, I think there are a lot of people who enjoy the work itself. It's also a lot of fun.

Q: When the project for "Girl in Order" was established, Mr. Nakajima and director Imanishi put aside the project at the same time because of other work. After that, when the work was restarted, did anything change?

Nakajima: I participated in the production of "Kamen Rider" halfway through, which is the same as what I thought in "Cutting the Girl", which is a school battle work. That's why at first I thought, "It's not good to bump into it like this." "But after all, the former is a work for children, so "Cutting Girl" can be more interesting. Therefore, it is precisely because of the relationship of "Kamen Rider" that "Cutting Girl" can be more interesting.

Q: You also mentioned in the symposium that you were writing the script and thinking about the characters' lines at the same time. So how did you incorporate those lines into the script?

Nakajima: Well, it's hard to use your mouth alone. All I can say is "floating on the script". I think I'm afraid that all the things I wrote before have become "exercises" for the creation of this work. The same is true when I was in the stage theater company☆Novel, and the first thing that comes to mind is the communication between the characters. On the other hand, the script tells the story in the form of dialogue, and in the stage play, the lines are more important than the video work, so I have been doing things to put the lines on the script. It's hard to explain this verbally, but through guò training, I was able to relate small details to the whole work, which made my work more comfortable.

Q: Whether it's a stage play or an animation, I think it's very important to communicate with the on-site staff, so do you have anything to pay attention to?

Nakajima: This is a team that we have been working together since the time of "Tengen Breakthrough Red Lotus Eye", so we were able to understand each other's intentions quickly, so communication became very smooth. I think it's important to know that because it's a team that people can trust, it's so smooth. For example, when the person who created the picture design saw my design, he thought, "Why does this look like it's half-naked?" "But as long as they think it's handsome and has an impact on the world, then my work is successful. The way we create work is not "something can't be done, so we make a decision", but "no matter how messy it is, it's more fun to do it". This is true for both the troupe ☆ New Sensual Line and TRIGGER. Therefore, I think it is important to know how the script can respond to the expectations of the scene, and the idea and vitality of "wanting to make a good work" is also indispensable.

Q: When creating an original new project, do you do some market research to find out what kind of work today's anime fans are looking for?

Nakajima: Based on our team's situation, I don't think there's any point in doing surveys or anything. At the very beginning of this work, the Toba Yonoshi Zuò people emphasized this aspect of the matter. What he cares about is how high the purity of interesting works I can create with director Imaishi. This will undoubtedly be recognized by some groups, and how to expand such groups is very important. We all have a kind of "as long as you watch it, the audience will definitely find it interesting!" In fact, everyone's feedback is beyond our imagination. This exclusive event was attended by a wide range of people, young and old, so I was very happy that the work received a lot of support as a result.

Q: You taught yourself how to write a screenplay, so how did you hone your skills as a scriptwriter?

Nakajima: I've been writing plays for plays since I was in high school, so I've been writing for a long time. When I'm still at work, I use weekends and time on the road to write something. I often write stage plays for the theater company, so even if I don't study it, I write it for the purpose of publication. In this way, I felt that I had acquired the necessary skills at the production site.

Q: Among the anime fans, I think there are many people who have a lot of respect for a scriptwriter like Mr. Nakajima. So for those looking to become a scriptwriter, can you offer some advice?

Nakajima: There is no doubt that you have to keep writing, and if you have a professional mindset, it is important to be able to keep the creative mood even if you are engaged in other jobs for the sake of your life. It's a matter of whether or not we can maintain the will to continue writing, and if we don't have time to continue writing because of our busy schedules, then I think that's the end of it. And since you write a work, you have to write it well to the end. If you don't finish it, then it's not writing.

Q: Finally, would you like to tell us about the books you have been reading recently?

Nakajima: Next time I'm going to have a talk with Ryo Hanmura, so I'm re-reading his work. I sighed again: "The Legend of the Demon Star" is such a great masterpiece. And if it's a new book that I've read recently, then it's Kasuga Taiichi's "なぜ時代劇は滅びるのか". I've always liked his works, and I've been writing period dramas since the time of the troupe ☆ New Sensibility, so it's a must-see.

In addition, I also like books about film directors such as Yuzo Kawashima. For those who aim to write, I find Shinobu Hashimoto's book interesting. In any case, if you have something you want to write, you need to think about how to make it interesting and where you want it to be interesting. It's good to look at the work from this objective perspective.

"Cutting the Girl" is a high-purity work that vividly embodies the nature of the writer directed by Nakajima and Imaishi. Nowadays, there are many works that are created by researching "what kind of animation can win popularity" and thinking about the market and demand. However, this work reflects the interests and propositions of the producers, and it can be recognized by many fans, and in terms of original animation, it is also an outlier among the odds.

For example, there are very few events that are held in local cities after the end of the anime. And the audience was full of people eager for the creator's latest speech. This work, which Nakajima created with 1--% confidence, was presented to fans all over Japan and around the world with its original popularity, and it still left a deep impression even after the end. In Nakajima's words, although there are no plans to make a sequel to "The Girl Who Cuts the Girl", one day, the combination of Nakajima and director Imanishi will create more surprises for us with excitement and heat.