Production
Devilman evolved from Go Nagai's previous manga, Demon Lord Dante, after Toei Animation approached Nagai about turning Dante into a television series. The producers wanted certain elements toned down, and a more human-like anti-hero created. Devilman was born as a result of this. Go Nagai worked on the anime's scenario along with Masaki Tsuji, a well-known film scenario and science-fiction writer whose name became well known in the anime world through his work on such series as Astro Boy, Attack No. 1, Captain Future, Urusei Yatsura, and Dr. Slump. Tsuji scripted all but four of the 39 episodes in the TV series. Nagai would work with Masaki Tsuji again in future, notably on the anime versions of Cutie Honey, Dororon Enma-kun and Majokko Tickle, and on the 1992 live-action video version of Oira Sukeban.
Along with the television series, Devilman was also produced as a serialized manga with over 53 issues in Shōnen Magazine beginning in 1972. Go Nagai designed the manga to be more horror-like and mature than the anime version, making it similar in tone to Demon Lord Dante. It was later reprinted in a five-volume series, and has enjoyed over a dozen reprints in five different languages. The manga's occult horror elements, extreme violence, and complex apocalyptic story made it an instant hit.
Read more about this topic: Devilman
Famous quotes containing the word production:
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I can’t see it any other way. In that sense human nature kinda goes backwards. It’s a step backwards. You have to realize the people weren’t quite ready for a socialist production system.”
—Gus Hall (b. 1910)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“... if the production of any commodity necessitates the sacrifice of human life, society should do without that commodity, but it can not do without that life.”
—Emma Goldman (1869–1940)