Masaaki Yuasa's Anime Rock Opera About Musical Performance as Rebellion (Inu-Oh)

Masaaki Yuasa's Anime Rock Opera About Musical Performance as Rebellion (Inu-Oh) ...

Masaaki Yuasa's summary statement on animation, music, history, and rebellion is in Inu-Oh, which will premiere theatrically from GKids. It's the culmination of his hugely imaginative and deeply compassionate work on honoring marginalized people.

The films are set in 14th century feudal Japan, about the friendship between two cursed musical performers who serve as theatrical fearless counterparts: Inu-Oh (Avu-chan from fashion punk Queen Bee) who dramatizes the Heikes' slaughter at sea in the Battle of Dan-no-ura, and Tomona (Mirai Moriyama), a blind biwa player who chronicles the story in song. It's a phantasmagorical,

The Inu-Oh chapter was adapted from a Hideo Furukawas novel. That's what interested me the most about the story, both on the one hand and on the other. The fact that this is a fictionalized tale of what was imagined was also interesting. And the biwa priests and their performances are also interesting.


But I think the most crucial aspect was about a pop star of the time. I used to always think about this, and when we saw Noh performances or Kabuki in modern times, I was wondering what it was like back in the Muromachi era [1336 to 1573] and how they felt afterwards.

The director was most enthused by the close friendship between the co-protagonists, which he cited as one of the many reasons that he selected the two leads was because they were childhood friends. They would discuss how to improve their character building, as well as their willingness to accept responsibility. I think that both of them as performers are extremely honest and open. They try to present themselves and perform.

Inu-Ohs' physical transformation into a bravura dancer is followed by his chance encounter with Tomono and his joy among the stars as kindred spirits.


Yuasa believes that if Inu-Oh had stayed the way he was, he would have been content. But as he watches his brothers dance, he also wishes to dance better than his brothers. But also just after that, he meets Tomona, which is a life changing event for him.

What surprised Yuasa the most was his unconventional approach to animating the festival-like atmosphere of music and dance performances (David Bowie meets Michael Jackson) in order to liberate the spirits of the dead samurai.I really thought I would do it the normal musical way of having the songs first and then the animation, according to him.

He continued, saying, "I just realized that he needed the score for a film." Then I realized that once I handed him the storyboards, he would do some music, and I would have to [redo] some things. However, Mr. Otomo came out with pretty much perfect music, according to my storyboarding, so I didn't have to change much.


Inu-Oh's final dance sequence explores personal and social redemption. The animation starts out soft and becomes more vibrant and outrageous as he awakens the spirits and hears them, according to Yuasa. Theyre all there in the dragon palace, which he believes is a great place to live. He wants them to be saved.

But Inu-Oh discovers that he isn't connecting with the spirits and freeing them, even though he's telling their story, according to Yuasa. They communicate that it's not enough. He must tell his story to free him from his curse. It was their answer to his service.

This serves as a metaphor for how important it is to preserve history. I think learning about people from the past to determine how we perceive ourselves and how we present ourselves as living here now is one of the [important] themes.