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Animanga : Discussions sur les animés et mangas
idem pour le mecha design (surtout pour le dernier mecha à entrer en scène)
Ialda a écrit:Le manga existe en version anglaise (éditée par l'éditeur japonais), mais pour trouver cette version il faut s'accrocher ^^
Tetho a écrit:Faut dire qu'a plus de 10$ le tiers de vol jap tu m'étonne que même les fans achètent pasJ'aurais vraiment aimé les prendre à l'époque mais faut pas déconner non plus (et comme tu le dis, le jour où ça sort en VF c'est la fin du monde tel que nous le conaissons).
Gemini a écrit:Le 12 est le dernier de l'histoire, ou la série est toujours en cours ?
Arion est demandé à l'accueil. Je répète : Arion est demandé à l'accueil.blackjack78 a écrit:J'avais un espoir vain et fou que cela sorte en France
Les différents peuples de la Constellation du Joker se livrent des guerres farouches. Leur plus puissante arme est un mécha - le Mortar Headds - piloté par un Headdliner, lequel est secondé par une Fatima servant d'interface entre l'homme et la machine.
Le Dr Ballanche vient de créer deux nouvelles Fatima : Clotho et Lachesis. Celles-ci ont été conçues pour être les plus proches possible des femmes humaines, et ne sont pas munies du contrôle de personnalité obligatoire. Mais à peine ont-elles été "réveillées" qu'elles sont enlevées par Yubar, qui comptent procéder au plus vite à l'Inauguration des deux Fatima, au cours de laquelle elles auront obligation de choisir leur Headdliner.
Pour ne pas que leur secret soit découvert, Ballanche demande à son ami Ladios Sopp, le fameux Meister, de les récupérer avant l'Inauguration.
Aphex a écrit:Vu le film y a quelques années aussi et j'avais beaucoup apprécié l'univers (et le film aussi d'ailleurs). Je ne me suis jamais penché sur le manga mais à ce que je vois j'aurais eu du mal :p
Quoi d'autres ? Des suggestions ?
In doing this, I decided to pour out all of the original story I planned at the beginning for L-Gaim. This formed the foundation for The Five Star Stories.
“As for building the complexity into the stories in The Five Star Stories, the setup is actually quite simple. To start with I make the core story, I then divide that into two parts. Then again into another two parts. I keep on dividing and this process can be done infinitely. It's like a fractal. However, it always comes back to the core stories. That's why it feels complicated in terms of all the detail but is in fact quite simple.
“There is no specific inspirational external source for the story as such. For instance, the first episode the aim was to make it really easy to understand. So I thought about the ending of the film called Graduation, the climax was to be like that. Really simple. There was also another idea, which was starting from the grandfather's generation and then filtering through to the grandchildren, over a fifty-year span. So the idea that it would be the following generation to generation, that was something I thought about. Other than that, it really started by making a historical timeline and then looking at it and thinking "this part could be interesting". That's it really.
“When it comes to the anime adaptation of The Five Star Stories made in 1989, I actually opposed the idea. When the anime was proposed, there is almost a jinx that whenever a manga is adapted into an anime, the manga finishes. It was really to do with the fact that all the successful manga really peaked when the animated version's popularity reached its highest point and then the manga finishes, almost fades away. I didn't want that to happen with my manga. So when the anime was proposed, I felt "is this it then?". I will say that I really trusted the creative team behind the anime version, it was many of the staff who worked on Macross and they are almost like part of my family group. I actually think the anime is a compact and solid little movie. What's more, among the anime that Sunrise made it was one of the best.
“This is why I gave the go-ahead for the animated version in the end because I know what each medium can do. However, the anime version meant that I had to abandon the stories of Lachesis and Sopp. So these didn't really appear again after the animation was released. I was forced to change the scenery of the manga version entirely.
“When it comes to international releases of my work, there are really few people that are truly bilingual so I can't tell how many things the translators changed in order to make something like the English release of The Five Star Stories manga happen. So many translators had to leave the project and new ones came along. There is no exact vocabulary to match and that's frustrating.
“So in the case of The Five Star Stories manga translation into English, it's as though you need to fully understand the 16th century British English. The classical form of English. It's different but the understanding and feel of the terminology, the way that people connect with each other, that needed to be understood and expressed through this. Unlike some of the American interpretations that it should be easier to understand for kids, I didn't necessarily want to take that approach with this project. There really are very few people who can really command two different things from a separate time period.
“I also have a problem with the way Japanese content is marketed abroad. Currently, there are schemes like Cool Japan and all of that, so manga type contents are pushed to other countries. Almost in a way to forcefully accept the point of view and the way things are from the very Japanese viewpoint. That's not the way I want to go about dealing with releasing my work internationally. I also question that methodology, so I don't really want to be complicit in this big push. At the same, there are contents that are accepted abroad. From an early age, children may like the world of something like Final Fantasy or Pokémon. So the polygonal nature or elegant nature is understood for what it is and there are fans who would support it. Taking the whole thing quite naturally. However, from something like the Final Fantasy side, there is no push to get people to understand it in a certain way. There is no dogmatic cultural agenda.
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