http://0rz.tw/fOEkI （修改过的造型，那个「佳」拿掉了XD） http://0rz.tw/jSNBs （作者之一Todd McFarlane访谈） http://0rz.tw/5pDAs http://0rz.tw/3Mupn（可爱又迷人的反派角色～） Yoshiki as ‘Blood Red Dragon’: Todd McFarlane makes Japanese star a hero July 11, 2011 | 11:18 a.m. Yoshiki, the drummer-pianist-rock star commonly referred to as “ the Bono of Japan,” has a new alter ego — Blood Red Dragon, the title character in a new comic-book series from Stan Lee’s Pow! Entertainment and Spawn creator Todd McFarlane. The first issue will be unveiled at Comic-Con International in San Diego. Hero Complex contributor Rebecca Keegan talked to McFarlane about creating an alter ego for the rock star, how American and Asian comics differ and his thoughts on Comic-Con. RK: What went into the design of a character based around Yoshiki? TM: Yoshiki kind of flaunts his androgynousness. He was quick to point out that he didn’t want to be muscle-bound. You can tell he’ s not American because then he would want to look like a bodybuilder. He wanted to make sure that when he was not in costume he still looked wiry. When he turns into the dragon character, which is his alter ego, he didn’t want it to be like the Hulk. He wanted to be lean and mean. RK: Why did Yoshiki want his own comic book? TM: Comic books are a big deal in Japan and they’re read by adults too. We have a stereotype of comic books in this country. We might giggle if Bono wanted a comic. In Japan, reading a comic book on the subway to work is not frowned upon or thought of that you have arrested development. Yoshiki’s crowd is used to manga. Comic book creators there, they’re [Derek] Jeter. We live in a little bit more obscurity here. RK: Music plays a role in the plot of the comic. Can you tell me a little bit about that? TM: Yoshiki’s character is a metal rock star just like he is in real life, and music helps him transform into the hero. Bruce Banner just got pissed off and turned into the Hulk. This happens more mystically. We’re going to be doing a musical comic book, like those musical cards you get at the Hallmark store. There will be a sound chip in the comic book so it plays a riff when you open it. Those are only going to be at Comic-Con. RK: How hands-on was Yoshiki in the making of the comic? TM: He’s very specific in what he wants and what he doesn’t want. Sometimes artists can give you these ethereal notes, “I’d like to be more empathetic.” His notes are succinct – “Can you make my hair longer?” RK: Tell me about the villains, like Ky’Rann. TM: If you have a good guy, you don’t know how good he is until you put him up against a really bad guy. He’s the foil to the hero. If Yoshiki is Batman, this is his Joker. You give the boss the big cool name. And these other guys are, well, we call them bullies in real life. We have to give them fancy names in the comic. RK: Did you make the comic in a manga style that you hoped would appeal to Yoshiki’s Japanese audience? TM: That would have been my thought, but Yoshiki had the opposite mind-set. In Japan there’s a bit of an infatuation with America. He wanted to do an American-style comic, which is different than manga style. That would have been a slightly different look, maybe black and white. He was aware of what American comic books look like and he wanted that. That’s why he went to Stan Lee, because Stan’s the godfather of that style. RK: Do you think we’ll see more American comic book companies moving into other Asian countries in a big way? TM: Either those countries have their own heroes, their own books, their own styles, or they just like Batman, Superman and Spider-Man. They’re not looking for the hybrid. I’ve never seen the example of somebody figuring out in America how to do Chinese-esque comics for Chinese people any more than somebody from Spain is going to do better American-style superheroes than we do. RK: How many times have you been to Comic-Con? TM: My first one was in 1982. It was in some small dumpy hotel. It was a true comic-con. I went because I was trying to break into the industry. I was toting my portfolio. I’ve probably been 20 times. Everybody in the planet should go at least once, because it’s just a visual spectacle. For me it used to be cool, and you’d run into all your peers and all your friends. Now it’s so giant and diverse. You bring out your wares. You glad-hand as much as possible. You give autographs. Do a couple of panels. You can do art lessons. Then it’s Sunday and you go, “God, I didn’t even get to walk the floor!” RK: Can you go and take in anything for fun, or do people stop and approach you? TM: I try to sneak a little time and go look at young artists in Artists’ Alley because there’s always a diamond in the rough there. When it was just a comic show you were one of the big guys walking around. Now that it’s gotten so diversified with people from all different fields you can walk around in relative obscurity. There’s a lot more anonymity than there used to be. Now they have people like Brad Pitt and Angelina Jolie in to flog their movies. When it was just comic book guys, we were the heavy hitters. – Rebecca Keegan 身兼鼓手、键盘手的摇滚巨星YOSHIKI，通常被称为「日本的Bono」，现在有 了个新身份－Blood Red Dragon。这个全新的漫画角色是出自Stan Lee的 Pow! Entertainment和Spawn 创办人Todd McFarlane之手。这部作品的第一回 将会在圣地牙哥的Comic-Con揭晓。Hero Complex的撰稿人Rebecca Keegan对 McFarlane进行了一次访谈，关於他是如何看待催生摇滚巨星「新自我」的过 程、并听听在他眼中，美国和亚洲的漫画的不同之处。 RK：可以跟我们谈谈这个以YOSHIKI为蓝本的角色创造过程吗？ TM：YOSHIKI似乎想要标志出他的中性特质。在讨论的时候，他很快就指出他 不希望是满身肌肉的造型。从这点你就可以看出他不是美国人，否则他会希望 自己看起来像个健美先生。当他平常没有变身的时候，他希望确保自己的样子 看起来纤细但坚韧。但当他变身之後，他也不希望变成（绿巨人）浩克。他想 要自己看起来纤瘦结实。 RK：为什麽YOSHIKI想要他自己的漫画呢？ TM：漫画对日本来说是一项很重要的文化，不只是小孩，连大人也看。在这个 国家我们通常对漫画有一些刻板印象。就算是看到Bono在看漫画，我们恐怕也 会偷笑。但在日本，你在通勤的电车上看漫画并不会引人侧目，或被认为没有 长大。YOSHIKI的FANS也对漫画这块相当熟悉，对漫画创作者而言，他们在日 本的地位相当於Derek Jeter（纽约洋基队球星），在我们这边，环境稍微不 那麽明朗。 RK：在这部漫画里，音乐也是一项重要角色，你能跟我们透露一些讯息吗？ TM：YOSHIKI的角色是一个摇滚巨星，就像他在现实生活一样，而音乐能帮助 他变身成为超级英雄。Bruce Banner要靠情绪发泄成为浩克，而在这边又更神 ，我们想做一部音乐漫画，就像那些你可以在Hallmark买到的音乐卡片之类。 在漫画书里面我们会放进声卡芯片（sound chip），你一打开就可以听到riff ，不过这只会在Comic-Con才有。 RK：关於这部漫画的制作，YOSHIKI涉足了多少？ TM：他对於他想要什麽、或不想要什麽非常明确。有时这些艺术家能给你一些 非常细致的建议，例如像是「我想要看起来更有同理心一点」，他的建议相当 简练－「你可以让我的头发再长一点吗？」 RK：那跟我们说说反派吧，像是Ky’Rann之类的。 TM：如果有一个好人，你通常不知道他有多好，直到他出来抵抗坏人。Ky’ Rann就是这个英雄的陪衬。如果说YOSHIKI是蝙蝠侠，那麽Ky’Rann就是小丑 。你会给大坏蛋一个很酷的名字，至於其他…呃，小混混，你通常会给他们 花俏一点的。 RK：你会让这部漫画用比较日本的方式，就是你原本希望能吸引YOSHIKI的日 本FANS基础的方式呈现吗？ TM：我曾经这样想过，不过YOSHIKI有别的想法。日本好像还蛮喜欢美国风的 。他想要做一部美国式的漫画，那和日本漫画不一样。他很清楚地知道这两种 的差异在哪，而且也想要这样做。这也是为什麽他找上Stan Lee，因为Stan就 是这一行的教父。 RK：你认为我们会看到更多的美国漫画公司往亚洲发展吗？ TM：不管这些亚洲国家原本有没有他们的超级英雄、漫画或者自己的风格，或 者他们就是喜欢蝙蝠侠、超人和蜘蛛人。他们都不会期待一种混种的表现方式 ，我在美国还没看过有人如何针对中国人，成功设计一部中国风的漫画，就像 西班牙人如果要设计一个美国风格的超级英雄，也不可能作的比我们好一样。 （接下来两段比较没有关系就跳过了， 既然欧巡结束了那就预祝南美巡回顺利吧～） --

※ 发信站: 批踢踢实业坊(ptt.cc) ◆ From: 140.119.150.53 ※ 编辑: Lemonism 来自: 140.119.150.53 (07/12 21:18)