推 tsukisou:感謝翻譯~ 07/12 20:57
推 anita85602:你可以讓我的頭髮再長一點嗎？ XDD 07/12 21:12
※ 編輯: Lemonism 來自: 140.119.150.53 (07/12 21:18)
推 yxl:謝翻譯:D 頭髮長一點www 07/12 22:53
http://0rz.tw/fOEkI （修改過的造型，那個「佳」拿掉了XD）
http://0rz.tw/jSNBs （作者之一Todd McFarlane訪談）
http://0rz.tw/5pDAs http://0rz.tw/3Mupn（可愛又迷人的反派角色～）
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、鍵盤手的搖滾巨星YOSHIKI，通常被稱為「日本的Bono」，現在有
了個新身份－Blood Red Dragon。這個全新的漫畫角色是出自Stan Lee的
Pow! Entertainment和Spawn 創辦人Todd McFarlane之手。這部作品的第一回
將會在聖地牙哥的Comic-Con揭曉。Hero Complex的撰稿人Rebecca Keegan對
McFarlane進行了一次訪談，關於他是如何看待催生搖滾巨星「新自我」的過
程、並聽聽在他眼中，美國和亞洲的漫畫的不同之處。
RK：可以跟我們談談這個以YOSHIKI為藍本的角色創造過程嗎？
TM：YOSHIKI似乎想要標誌出他的中性特質。在討論的時候，他很快就指出他
不希望是滿身肌肉的造型。從這點你就可以看出他不是美國人，否則他會希望
自己看起來像個健美先生。當他平常沒有變身的時候，他希望確保自己的樣子
看起來纖細但堅韌。但當他變身之後，他也不希望變成（綠巨人）浩克。他想
要自己看起來纖瘦結實。
RK：為什麼YOSHIKI想要他自己的漫畫呢？
TM：漫畫對日本來說是一項很重要的文化，不只是小孩，連大人也看。在這個
國家我們通常對漫畫有一些刻板印象。就算是看到Bono在看漫畫，我們恐怕也
會偷笑。但在日本，你在通勤的電車上看漫畫並不會引人側目，或被認為沒有
長大。YOSHIKI的FANS也對漫畫這塊相當熟悉，對漫畫創作者而言，他們在日
本的地位相當於Derek Jeter（紐約洋基隊球星），在我們這邊，環境稍微不
那麼明朗。
RK：在這部漫畫裡，音樂也是一項重要角色，你能跟我們透露一些訊息嗎？
TM：YOSHIKI的角色是一個搖滾巨星，就像他在現實生活一樣，而音樂能幫助
他變身成為超級英雄。Bruce Banner要靠情緒發洩成為浩克，而在這邊又更神
，我們想做一部音樂漫畫，就像那些你可以在Hallmark買到的音樂卡片之類。
在漫畫書裡面我們會放進聲卡芯片（sound chip），你一打開就可以聽到riff
，不過這只會在Comic-Con才有。
RK：關於這部漫畫的製作，YOSHIKI涉足了多少？
TM：他對於他想要什麼、或不想要什麼非常明確。有時這些藝術家能給你一些
非常細緻的建議，例如像是「我想要看起來更有同理心一點」，他的建議相當
簡練－「你可以讓我的頭髮再長一點嗎？」
RK：那跟我們說說反派吧，像是Ky’Rann之類的。
TM：如果有一個好人，你通常不知道他有多好，直到他出來抵抗壞人。Ky’
Rann就是這個英雄的陪襯。如果說YOSHIKI是蝙蝠俠，那麼Ky’Rann就是小丑
。你會給大壞蛋一個很酷的名字，至於其他…呃，小混混，你通常會給他們
花俏一點的。
RK：你會讓這部漫畫用比較日本的方式，就是你原本希望能吸引YOSHIKI的日
本FANS基礎的方式呈現嗎？
TM：我曾經這樣想過，不過YOSHIKI有別的想法。日本好像還蠻喜歡美國風的
。他想要做一部美國式的漫畫，那和日本漫畫不一樣。他很清楚地知道這兩種
的差異在哪，而且也想要這樣做。這也是為什麼他找上Stan Lee，因為Stan就
是這一行的教父。
RK：你認為我們會看到更多的美國漫畫公司往亞洲發展嗎？
TM：不管這些亞洲國家原本有沒有他們的超級英雄、漫畫或者自己的風格，或
者他們就是喜歡蝙蝠俠、超人和蜘蛛人。他們都不會期待一種混種的表現方式
，我在美國還沒看過有人如何針對中國人，成功設計一部中國風的漫畫，就像
西班牙人如果要設計一個美國風格的超級英雄，也不可能作的比我們好一樣。
（接下來兩段比較沒有關係就跳過了，
既然歐巡結束了那就預祝南美巡迴順利吧～）
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