John UM
Of the four most widely known movies in this ministry, three are women. However, the last comic book “OPUS” (simplified version: works) of Jin Min is a story about men. This “yuan comic” is both a portrayal of his cartoonist status at the time and a portrayal of the position of the creator. The gaze of his creator’s position runs through his creative career
Before OPUS.
“The House of the House” (パーフェクトブルー, 1997) began to emerge, and Jin Min began to be praised as “genius”, this overseas name The unseen animators made such a complicated and shocking debut. It seems that Jin Min has been presented to the world as a “completed body” from the beginning of the animation director’s debut, but it is not. Compared to his animated director, his comics best reflect the step by step
In the essay collection “KON’S TONE “Millennium Girl”への道” (Simplified Chinese translation: My Dream Road), Jin Min wrote: “This (referring to “OPUS”) is the most unified style of my style.” At the same time, Jin Min received the job of “The House without Ma”, which is exactly the time when he became tired of the profession of comics. In fact, Jin Min’s career as a cartoonist is far less brilliant than that of an animator. When he started serializing “OPUS” in 1995, Jin Min had been debuting as a cartoonist for 12 years. Although he had won some comics awards in the early days and was accepted as an assistant by his idol big friend Ke Yang, there were only two single books in 12 years. (“Haigui Line” “Terror Taoyuan”) published, it is difficult to say that it is very successful
And the comics career like “OPUS” is a masterpiece of Dacheng’s masterpieces, and the amazing achievements of the moving artists, not even a glimpse. What Jin Min is most relishing today is undoubtedly his amazing matching editing skills in animation – or the ability to arrange the lens, because the animation does not have a real clip like a real movie – but if you look at him at this point Early comics, probably a lot of readers disappointed – including the author. We may wish to return to the starting point of this time to come to the road
The debut of Konami University, “虏” (虏-とりこ-, 1984) has already set the tone for his later works, that is, fantasy and reality are intertwined: the hero in the story At the end of the big smashing, I don’t know if this is a violent dream of the management agency using the machine to let him do it. Such a story is inseparable from the virtual reality theme of The Thirteenth Floor (1964, which was adapted into a movie in 1999, also known as the “Different Hacker”). It is better to say that this is the science fiction work of the time. The trend: In the same year, William Gibson’s classic novel “Neuromancer” was published. In the early two years, there was a game sci-fi movie like “Tron”, while in Japan, there was “unlimited”. Virtual reality OVA like Zone 23 (MEGAZONE 23, 1985), not to mention the later Matrix (1999). Even though Jin Min later confidently said that he did not have a teacher, it was only the SF element of “虏”, the character style, the use of lines, and even the characteristics of “Aquila” (AKIRA, 1982-1990 (manga)). The protagonist (the actor Lin in the work of “OPUS” is also such a person), you can see the influence of Dayou Keyang on Jin Min
“虏”
However, in the early comics, Jin Min made a lot of problems that new cartoonists would make: the mirror logic is incoherent. For example, this character position changes in the next grid, and there is no relevant action in the middle to transition, such as meaningless axis. The reader is unable to read smoothly; the distribution of the size of the division and the content of the plot is not rigorous. Although the comic medium does not control the length of the lens like the film and television media, the reader’s line of sight is controllable by the cartoonist, such as a certain plot. Whether to display a small grid or a large grid, or even a full page, a page, and how many words are placed in the grid, these comic performances affect the reading speed of the reader, which constitutes a unique “clip” of comics, but the early comics of Jin Min often focus on Unknown, such as the use of small grids in important episodes, so that readers unknowingly read and ignore the key points… The reasons for these shortcomings, the author believes that this is the first time in the brain to establish a piece of image motion logic, when converted into comics “Taking it for granted” thought that comic readers can “intention” the logic of the picture, while ignoring many key points Interest due
For example, in the short 1985 “Carving”, this hat man was originally five meters behind the girl, and the next page suddenly stood next to the girl, no relevant movements to make a transition, said hat man Walking around. The close-up of the two grids for the girl in the middle is slightly cumbersome
In short, this is the reason for the immature technology. In turn, it probably proves that Min Tian is suitable for animation, and Jin Min is deeply influenced by the art of film. These influences are accompanied by his entire creative career. In the 1980s, it was precisely the great comics of the dramas (a style of comics, which was more realistic and less symbolic than mainstream comics), which was compared with the previous teenagers and youths. The comic style is distinct
Even so, this is a fast-paced, and this is inseparable from the efforts of Jin Min himself. In the serial of “OPUS”, Jin Min also worked as a cartoon of Oshii Shou as the original work “Seraphim 2,661,661, 3,336 angels. Wing” (セラフィム2,066,633,333,333の翼, 1995-1996) – From this, I can see the degree of desperation of Jin Min. In addition, he not only worked as a comic book assistant in “Akira”, but also created a number of short comics. He also entered the animation industry at the invitation of Dayou Keyang. He started as “The Old Man Z” (1991) and “Mobile Police”. Layout (composition) of theatrical version 2 (mobile policeパトレイバー2,1993), followed by OVA “JOJO’s Bizarre Adventure” (ジョジョの奇妙な険, 1993-1994) also received a screenwriter, a split, a performance (similar The work of the single episode director). The animation work in turn trains Minami’s comic techniques
The space being stared.
“OPUS” is a work about the cartoonist and the characters and stories in the game. It is about the creation of works, and it is also the work of Jin Min’s creative career
Before the start of the episode of “OPUS” by Jin Min, he received the first “She’s Memories” in the short animated film “Memories” (Memories, 1995) (の想いで) – the work of the director of the animation studio 4°C founder Morimoto Koji Through the work of screenwriters, Jin Min also confirmed his preference for “interlaced reality and fantasy”, one of his favorite films, Slaughterhouse-Five (1972), became his Style enlightenment with multiple time and space interweaving. “OPUS” is divided into three layers of time and space: the manga space under the cartoonist Yong Jingli (referring to the comic book “RESONANCE” created by Nagai, ), where Nagai is located, by “Minami” (referring to the current Min in the comics, In order to distinguish it from Jin Min, the comic space created by the double quotes is deliberately added, and the “reality” space in which “Min” is located
“RESONANCE” coloring page
The three-story space was originally like a Russian doll, and people outside the space stared at the interior space – Nagai, his comic readers, and “we” (referring to readers and authors of OPUS), staring at “Min himself” The space of RESONANCE, “Minami” and “we” also gaze at the space where Nagai is located, and the space of “Minami” is also the same. And when people inside the space begin to stare at the outer space, the story begins
“OPUS” people inside the space stare at the external space.
Some of the film works after “OPUS”, Jin Min also set the works and space that are gazing
“No hempの部屋” (“Ministry” is actually the meaning of “room”), this is the name of the personal website that fans are not numb, but also the Chinese title. The origin of the unimportant house (although I don’t know who translated it), this is already a space in the work, which implies that the story focuses on her private space, her private life, her secrets. Being stared, he was “shadowed” by the other. I have written in other articles like this:
The protagonist did not have a small fish in his room. The unhealed room, the fish tank in the room, and the unhealed inner heart formed a three-layered space, nested in layers. In the movie, several places shoot the outside space through the angle inside the fish tank. The unhealed face is also printed on the glass of the fish tank through the transmission of the glass. The glass surface of the fish tank is like a screen.From this perspective, it is undoubtedly suggesting that Wu Ma is in a state of being peeped in life. Her life is like “The World of Truman”, which is observed and captive. This voyeur is not only from the sneak peek, the savage peep, as an artist who transformed from idol to actor, she was also forced to peep in various media, such as her film and television works, follow-up photos, photo, etc. Wait, the camera in the play and the virtual camera of the animated film outside the show (because there is no real camera in the animation, but there is a sense of setting up the camera), through these cameras, people are piercing her eyes. (Original: https://zhuanlan.zhihu.com/p/55834375. There are changes to the original text.).
The unseen face in “The House of Unhempia” is reflected on the glass of the fish tank.
It’s like being materialized by these media, shaping it into a “work” that people want her to be. Fans and brokers have created a pure and unremarkable image, and various cameras are also shaping another Without numbness, various media have led the work of “No Ma” to different places
This shaping also runs through the Millennium Girl (2001). As a positive sister of “The House of Unhempia” (now Minami), the life of the protagonist Fujiwara Chiyoko was filmed by her fan Tachibana. The life of Chiyoko became a story through the lens of Tachibana and became a work.It is only the case that the “works” of “The Unemployed House” are mutually killing each other. The “Works” in “The Millennium Girl” is completed with the help of the fans of the Chiyoko (original author) and the fan Lihua (the audience)..
Girls Chiyoko (middle) and Tachibana (right).
At the same time, Lihua is also the creator of the documentary. It can be seen that the identity of the audience and the creator is not opposite and can be converted at any time, just like the dialectical relationship between the real space and the fantasy space. From the point of view of the space of the work being stared, it is not difficult to understand the transitional effect of the work such as OPUS, which is transformed by the space of the work and the real space
Mirror of the otaku and works.
“OPUS” is similar to “Men’s House” and “Millennium Girl”, these main male characters basically have the color of the otaku. The definition of the definition of the otaku is different. One of the views that the author agrees with is that the otaku is a group of hobbies (especially niche hobbies) that are more in-depth than other people, and who invest in time and money. Use hobbies as the driving force to create and create activities
For example, in the “Unproductive House”, the “Imperial” image of the “I created” a perfect idol image (this is a negative level), and the “Flower Girl” in the “Millennium Girl” as the number one fan of the first generation of the flower for the idol to create a Documentary (positive level creation), both of which contain a gaze of women (the creatures) from a male perspective. In “OPUS”, this kind of creation is more obvious than the former two, and the creation runs through the main line of the whole work. As a male cartoonist, and also an otaku, Nagai also used his own secret object as the prototype of the heroine of the work. In the academic journal “Mechademia” published by the University of Minnesota on popular culture such as ACG in Japan, author Ogg Kerin wrote in the article on the study of Jin Min: “The plot of the story of Jin Min depends on the production/synthesis of only the otaku. Knowledge.” 3 The author believes that although this view is one-sided, the views of others have also proved the importance of the otaku role in many works of Jin Min, including the last work published in the past, “Red Pepper” (%% The actor in @@ パプリカ, 2006) is similar to the nerd image similar to the otaku
But compared to the “no numbness” in the mad idol’s heart, the Chiyoko under the Tachibana lens, these shaped women are based on the re-creation of realistic material, and Yongjing Li as the original author of the comic is in the space of the work. The people and things have the absolute right of God. In this work, the otaku who play the creative power is the source of all, the creator of all, that is, the father of the work. The whole story of “OPUS” is like the father’s children awakened their independent personality and hope to gain self-worth by confronting their parents. In particular, the actor Lin, created by Nagai, has the qualities to fight against the powers (inverses, adults, authors). (The comics about juveniles often have such stories, such as “Aquila” Against the institutions that control him, such as the male characters in the comic magazine “Youth Jump”, they often use adult males and fathers as objects of surpassing, even enemies
And as many readers have said, “OPUS” can see the shadow of the works of this day, and the author notices the use of the mirror by Jin Min. A closer look at Jin Min’s film and television works reveals that the mirror has always been a favorite props of this time. In the opening scene of “Red Pepper”, there is a scene in which a multi-faceted mirror reflects the different cross-sections of the role of red pepper. The mirror reflects the restlessness of the room and the room that she is no longer safe. It is also the ugly mirror of the actor who reflects the role of Miyuki, not to mention the self-confidence in the mirror. Privateは本だよ(I am true).” The mirror is everywhere
With OPUS, the mirror becomes the device that generates the entire comic space. In the last few words, whenever the comic plot is considered to change, there will be a flat crack in the comic space. It may be interesting to fit into such an interpretation here – the novelist Borges wrote in his works “Tron, Ukbar, Orbis Tetius”:
Mirror and fatherhood are awkward because it multiplies and spreads the universe. 4
Borges equates his father with a mirror. If you stand in the perspective of this article, it is the same as the work of the creator of the father. It is a mirror. The mirror is born with a person (role), the universe (the world of works)). “OPUS” finally broke the mirror of the work, the character in the story, and the story itself gained the right to stare into the external space. As a sensible person who created many living characters, he borrowed from his pen, and he is also the cartoonist’s mouth of Nagai, when the “child” stares at the outside, the influence on the “creator”: many times the creator will be The role of traction, the development of the unexpected story of the creator, this can be said to be the will of the character, the story in turn erodes the reality. “OPUS” opposes the author and the role, and cooperates with each other, just like the story of the “Millennium Girl” story of the thousand generations and the male creator Tachibana to help complete the work – the prototype of such a story frame. Ogg Kerin wrote in the same article:
While modern people are overwhelmed by the media, they also exist through the media. Their spiritual landscape is a mixture of movies, ancient myths, literature, television shows, memes and images. In this case, the story does not exist for our human consumption, but the story also consumes us, fills our thoughts, and constructs the connection between our memories and reality. 5
I believe that the prototype of Nagai is the comic master Yongjing Hao from “Jump”. Yongjinghao originally used the character in his “Devil Man” to “paint death”, but with his death, Nagai lost his inspiration. Finally, under the editor’s suggestion, let him continue to “live” in the story, and finally the character of the bird became a big villain. It was something that the author never thought of at first. Nagai said that “the bird started regardless of the author’s intention.” Run away.” The author believes that this is very likely to be inspired by this anecdote to create this work
Unfortunately, the comics are finished.
Jin Min is not satisfied with the work of “OPUS”. The author thinks that the reason is very simple. Although Jin Min finally insisted on drawing the final manuscript, it was obvious that it was finished, and the characters in the work did not pass through the inside of the story. The rule is to destroy the conspiracy that the mask man dominates the world. Instead, let Yongjing force back to the real space of “Min” and let the story end through a higher level of external authority. It is very unpleasant, of course, finally returning. It is also a pity that the manuscripts that have not been hooked up are assembled and published
There is no such thing as a latecomer in the Japanese comic book industry to create an original animation with similar settings and themes, which is directed by director Aoki Hideki (“Fate/Zero”) and cartoonist Guangjiang Liwei (“Black Reef”) and others created “Re:CREATORS” (2017), which is quite controversial, but it hides a point of view of the creators: only works can be published, and with the audience/readers, the works can become works. The story can be established
“OPUS”, as long as the author believes in the authenticity of the role and settings, then it exists
“OPUS” has a plot, it is Yongjing Li who can draw the heroine in the blank world with her own power, let her live, this plot is exactly the opposite of the concept conveyed by “Re:CREATORS”- – These interesting contrasts will be discussed later, but as far as I can see, “OPUS” is so assembled and presented in an imperfect form to the readers. Its incomplete regrets undoubtedly add a legend to the “work”, although not the author. Original intention, but also enough to talk about it
The form of “Work” is finally out of the author’s control, but it carries the author’s will before his life. He flies into the reader’s thoughts and extends to “The House of the House”, “The Millennium Girl” and “The Tokyo Godfather” “, “Desperate Agent”, “Red Chili”, these things in the space of the work of the future, live forever
[References].
- 今敏, Mrs.X translation, “OPUS Works”, Beijing United Publishing Company, 2011.8.
- 今敏, 焦阳译, “The Fossil of Dreams”, Beijing United Publishing Company, 2018.11.
- 今敏, 焦阳译, “My Road to Dreams”, Yazhong Culture, Xinxing Publishing House, 2015.12.
- Borges, translated by Wang Yongnian, “The Garden of the Trails,” Shanghai Translation Publishing House, 2015.7.
- Ogg Kerin, “Lucid Dreams, False Awakenings: Figures of the Fan in Kon Satoshi”, from “English 圏における日本のアニメーションのResearch Trends; 》, Jiang Jianggang, 2014.1.
[Reference film and television works].
- Morimoto Koji, “She’s Memories” (Partyの想いで), 1995.
- 今敏, “The House of the House” (パーフェクトブルー), 1997.
- 今敏, “Millennium Girl”, 2001.
- 今敏, “Red Pepper” (パプリカ), 2006.
- 青木英, “Re:CREATORS”, 2017.
The Chinese version of Jin Min’s “OPUS” has been introduced by Houlang Publishing House. Readers who want to purchase can scan the QR code below or click on the relevant link
“OPUS” purchase method.
The Wall of the Masterpiece sells QR codes and links.
https://detail.youzan.com/show/goods?alias=36cu0uafib5rm
Anitama sells QR codes and links.
https://j.youzan.com/8xnuDh
