Otakon 2018 Interview: Kawamori Shoji

This interview was conducted at Otakon 2018 in Washington, DC.

In your anime, you often visit the theme of love as power, or the power of love, even in your mecha and science fiction settings such as Macross, Escaflowne, and Aquarion. What draws you to this subject?

I always wanted to be original, and not like others. In previous science fiction anime, having love in the main theme was unheard of. You’d have love among the sub-characters, but not with the principle ones. So it’s something I always wanted to incorporate.

My next question is about Macross 7. I find the characters of Basara and Sivil have a unique relationship or a special connection. How would you describe their relationship in the story?

If you look at the character of Nekki Basara himself, he is unique in all of the Macross series. I thought it would not be fitting for him to be engaged in just a normal love affair, and he should have something that transcends love—like a resonance or clash of souls. The director of Macross 7, Amino Tetsurou, is someone who values the idea of passion, over any sort of details. It would just be a story of souls clashing.

I noticed in your credits that you worked on Toushou Daimos as a mechanical designer. Did you have an opportunity to work with Director Nagahama directly, and if so, do you have any memories of him?

I didn’t have much opportunity to speak to Director Nagahama on Daimos. Of course, I met him, but most of the interaction was through reading and looking at the storyboards that he draw. I did the designs through that. I really got to talk to him more on Ulysses 31. He was quite the gentleman, and he had a real passion for incorporating and valuing drama in his stories.

You’ve designed many mecha for decades—for toy lines, for kids, for adults, and even for video games. What changes in your design process and thought process according to the type of project?

This is something I value so much that I would take an hour or two to talk about it in detail. I look at the worldview of the work, the setting, and the target audience—for example, if it’s a toy, what would be the age range? Those are all the important considerations: market, target, theme, and the worldview. Those are the principle elements that go into the design, and after I have that down, the rest comes more easily.

To pick a specific example, I really enjoy your designs in Eureka Seven. What particular concerns did you take into account for that project?

When I first received the order for Eureka Seven mecha design, the initial order was to have a transforming mecha from automobile form to humanoid. But since that was something I’ve done so many times, I didn’t think I could do anything new.

I held the world-building meeting with Director Kyoda and the principle writer, Sato Dai, and they told me that in the Eureka Seven world, they’re in a world saturated by trapar particles that allow ships to float, and that’s how travel is done. And I thought, if these particles allow large ships to float, I can easily envision them as waves, so you can have mecha that use the waves to float. Director Kyoda liked the idea, and once the concept of surfing was in, the actual design was easy.

While you’re better known for your accomplishments in science fiction and mecha, you also worked on a show called Anyamaru Tantei Kiruminzoo. It’s quite outside of your usual genres or wheelhouse. How did you come around to being on this project?

For me, since I’m known as a mecha designer, most clients tend to bring me that kind of work. But I always want to try out something new, and communication with animals is something I’ve always been interested in. So, in Anyamaru Tantei Kiruminzoo, we have a girl who would transform and communicate with animals. But in normal magical girl series, when you have a girl transform into a magical girl, she would become invincible. I didn’t want that. I wanted someone who would be more different from a human with human abilities. So I pitched the idea and fortunately, that’s how we got the show.

This is my last question. Traditionally, it hasn’t been common for non-Japanese artists to work on anime aside from the outsourcing done in South Korea, but Satelight has hired artists such as Thomas Romain and Stanislas Brunet. How did Satelight bring them aboard, and what is it like working with foreign artists?

That goes back to me and Macross with the concept of “deculture.” I’m very fond of the differences in cultures, because we all grew up in different backgrounds. We might be fond of the same things, but we might have different ideas and concepts about those same things. That’s great inspiration for myself, and it’s very enjoyable working with foreign artists at Satelight.

Satelight’s parent company is an IT company. As such, it’s always had a corporate culture that’s open to working with foreign employees. So, our current president, Sato Michiaki, never had any issues employing non-Japanese artists.

Thank you!

Advertisements

Interview: Masaki Tachibana, Director of Princess Principal

This interview was conducted at Anime NYC 2017. Masaki Tachibana is the director of works such as Princess Principal, Barakamon, and Tokyo Magnitude 8.0.

Princess Principal is an alternate-history London. It’s a popular theme, to tell an alternate history. What do you think differentiates Princess Principal from other shows?

With regards to how it might be different, on a technical level, how we approach it and how we make the anime is actually not all that different. Whenever we make things, we actually take into account how the characters would react and what would be realistic in that world. In that sense, it’s not that different from other what-ifs we do in anime.

You’ve directed a few shows now, but looking at your history, you’re still contributing as an animator to a number of projects. Do you prefer directing or animating?

In a sense I do enjoy directing more because the director is the one who gets to make the world that the story happens in, as well as think about things like, “How would this character react?” and “What would this character do in these situations? I could also do choreography and other related things, so in that sense being a director is fun. However, I also have my share of fun as an animator, because when I’m an animator and someone else is the director, I can draw the things I want and let the director take care of all the nitty-gritty.

In Princess Principal, the female characters tend to look very different than the male characters, in the sense that the male characters tend to be much taller and tougher and the female characters tend to be much smaller and cuter. Is there a reason for this?

Since the idea of the story is about cute girls being spies, the girls are, in a sense, drawn intentionally cute–as opposed to the men in the show, be it an enemy or an ally. The people in the control room will be drawn to be more trustworthy figures, while the enemies will be drawn to more opposing statures. In that sense, it does have a certain meaning.

To follow up with a related question, Princess Principal works off of a combination of cute and cool. As you made reference to, it’s almost an unexpected contrast within the main cast. Do you think, when trying to combine cute and cool within characters, is it better to have a greater contrast, or is it better to have more of a balance between the two values?

If it was only cool, for example, then you wouldn’t have something all that fun. You would need something like comedy to balance it out. But you can’t put so much of one or balance it so much that it breaks the reality of the setting. So there’s a fine line between keeping the balance and making it enjoyable.

Other shows you worked on, like Tokyo Magnitude 8.0 and Barakamon are very different shows compared to Princess Principal. Do you have a consistent approach to each work, or does it require you to bring something different to the table each time?

What I like to value most is the characters in the story. Even if they need a drastically different touch, I value the characters, how they would deal with hardships, and how they would react to things. I would like them to be as if they were actually there, and then think about what they would do. In that sense, my approach remains constant.

The composer for the music in Princess Principal is Yuki Kajiura. What is it like working with her?

So what actually happens in the sound-making in Princess Principal is, once the scenario is done, the producer, as well as the various people from [Studio] 3 Hz and Actas come together with Kajiura-san to talk. They give her a rough list of what tracks they need. We talk about what we need, and then we let her loose. So in that one meeting, I pretty much convey all of the types of music I want in the various scenes, and I have her do what she likes.

Is this your approach to her, or is it how everyone works with her?

When it comes to this approach, this is mainly what the animation industry is usually like. For example, when we talked earlier about the various people representing each side, there are usually sound directors and others to flesh out the list. That list usually contains 30-40 tracks, and everything is done in that one meeting. Though, right now, there are some other types of anime that focus more heavily on music, like those that focus on vocal aspects or music in general. So those anime might take a different approach.

My final question is maybe the simplest one. What work, anime or otherwise, inspired you to get into a creative field?

When I was a child, I actually watched lots of movies. They ranged from Miyazaki animations to movies by Spielberg, George Lucas, James Cameron, you name it. When I watched them, they ignited the fire in me that made say, “I want to make a movie. It doesn’t matter if it’s anime or live action–I want to make a movie.” This is a generalization, but in Japan, animation requires less of a, how do you call it, less of a period to become to go on to the front lines of production. That’s specifically why I went into anime.

Thank you. It’s been a pleasure interviewing you. Best of luck in your future work!

Otakon 2017 Interview: Tomoki Kyoda (EUREKA SEVEN)

At Otakon 2017, I had the opportunity to interview Tomoki Kyoda—director of one of my favorite anime series ever, Eureka Seven. He was at the convention to promote the world premiere of the film EUREKA SEVEN HI-EVOLUTION, and I spoke to him the day before the showing.

Eureka Seven was originally created as a media mix project with video games and manga telling side stories or different, alternative narratives from the anime. How much of a say did you have in the spin offs?

With the spin offs, we would say, “We want so-and-so” for a concept. The various directors and mangaka we were working with would present their spin offs to us, and we would check over them.

My next question concerns Eureka herself. Her appearance changes throughout the series, especially when she gets covered in scars. It’s a very bold decision, I think—especially for anime. What was the thinking behind changing her appearance?

When we were doing the original story, Mr. Kenichi Yoshida and I were talking about what we could do to provide lots of inspiration and different paths the story could take. One of the inspirations that someone came up with was, “What about drastically changing her appearance?” So we actually took that and went with it.

What is it like working with creators Dai Sato, Shoji Kawamori, and Kenichi Yoshida? Do you have any interesting production stories to tell?

With regards to Mr. Sato and Mr. Yoshida, we were actually all born in the same year, so we all have an understanding of our pros and cons; what each of us do well and what each of us do not so well. But with regards to Mr. Kawamori, he is a person we look up to. He is a very interesting person, and his works are also very interesting. But then if you meet him in person… whoa. You’re going to notice that he’s more interesting than anything he’s actually done. So, if we start talking about Mr. Kawamori, we’re going to go past two hours like it was nothing, so let’s just leave it at that.

In revisiting Eureka Seven with the new movies, what feelings are you hoping to evoke in old fans and those who have never seen the series?

First of all, I’d like to say that, for old fans coming back to us, thank you very much. I hope they will actually be very accepting of this, since, even if we use some old footage, it doesn’t mean that we could do something just like the old version. In that sense, it’s in many ways a new movie. I hope they will be very accepting of it. With that being said, for new fans I hope they take it for what it is, and accept it for what it is, and that they will see what Renton and Eureka and Anemone have to do in order to live through that world. So the greater idea I have for everyone is acceptance, really. I hope everyone will accept EUREKA SEVEN HI-EVOLUTION for what it is.

Thank you very much!

Otakon 2017 Interview: Furukawa Toshio & Kakinuma Shino

At Otakon 2017, I sat down with a husband-wife duo who are also two veteran voice actors of the anime industry. Furukawa Toshio is probably best known for playing Piccolo in Dragon Ball Z, while Kakinuma Shino was Naru in Sailor Moon (Molly to dub fans!).

I did not have enough time to ask any Piccolo questions, but if you love giant robots it’ll be worth your while.

Mr. Furukawa, Ms. Kakinuma, thank you for this interview.

My first question is to Mr. Furukawa. You played the role of Kenta in Mirai Robo Daltanias, so you had experiencing working with Nagahama Tadao. What was it like working with him? 

Furukawa: I actually worked with Mr. Nagahama before Daltanias, on The Rose of Versailles. But the time of Daltanias was during the super robot era, with the iconic huge robots in Japanese culture. He brought me in saying, “You know, we have a role for a prince for you. He’s a really good-looking character. Why don’t you come in?” So that’s how I came on the boat.

He was a very gentle person, and as a director he never stopped smiling. He was a very kind figure.

I’d also like to ask you about a different, maybe very different, director: Tomino Yoshiyuki. What was it like working with him as Kai Shiden in Mobile Suit Gundam?

Furukawa: Mr. Tomino is on the opposite spectrum, I’d like to say. He is relatively the stricter type. He’d give long lectures when we were young and starting off with First Gundam. He was known as the scary kind of director.

My next question is directed to Ms. Kakinuma. When it comes to anime based on manga, oftentimes anime-original stories are considered to be not as important or significant. But the romance between Naru and Nephrite is considered a fan favorite. What was it like voicing Naru for that story?

Kakinuma: When we were voicing for Sailor Moon, unlike some of the works now where there’s a manga established, we were doing it at the same time that the manga was going on. Some of the people who worked on the anime didn’t even know that romance doesn’t happen in the manga. So when we voiced it, we were doing it as if it were canon.

You’ve both been in the voice acting industry in Japan for a long time. How do you feel it’s changed over the course of your careers?

Furukawa: When I began, “voice actors” not really a thing. We were a subgenre of the bigger category of actors, where there were actors, stage actors, etc., and voice actors were part of the mix. During that time, we were not well recognized. If you look now, though, you have voice actors appearing on TV. I’ve even appeared on TV myself. I’d like to say that we’ve gained a kind of citizenship. We’re now more recognized.

Kakinuma: Recording has changed from when I began until now. For example, when I first started, we were voicing things that were on film, projected. When a part was over, we would have to reel in the film to record again if we needed to. Now, you don’t have that “reeling in the film” time; you can just click and go back to your previous scene. It saves a lot of time.

It’s normal now to see a kind of timeline on the bottom of the screen showing where you are in that span. By going to that, you don’t need a sense of timing anymore. But back then, since there were no timelines whatsoever, we needed a kind of specialized skillset.

Furukawa: TV equipment also changed. For example, nowadays we have multidirectional digital surround sound, which gives you the ability to hear all around you from all sorts of different channels. But back then, we didn’t have any of that, so we expected everyone to hear from the two speakers. Everyone speaking at the same time would be the same as mixing everything together. Now, if you did that, you might not get the same experience, so you need to split the channels in recording. So technology has advanced, but this has gotten us to take additional time in the recording process.

My last question is about Muteki Robo Daiohja, another giant robot series. What was it like working on it compared to Daltanias?

The biggest difference is that, while they’re both in the era of prolific super robots and space and everything, Daiohja is kind of a parody. Although they’re both similar—I got to play a prince in both anime—the biggest difference is that Prince Mito’s name derives from Mito Koumon, the very famous Japanese period drama about a prince taking out all the evils in his era. Daiohja had a lot of these elements. The characters Skad and Karcus came from Suke-san and Kaku-san from Mito Koumon. Everything about it was pretty much a parody of Mito Komon, so that’s the biggest difference I felt.

Thank you again for the interview. I look forward to your continued successes in your careers.

Otakon 2016 Interview: P.A. Works

paworks

This interview is part of Ogiue Maniax’s coverage of Otakon 2016. While the interview was with multiple staff members at P.A. Works, only the producer, Horikawa Kenji, gave responses. I’ve reflected this in the answers.

It’s a pleasure to have this interview with you. My first question has to do with True Tears. It was your first work as a studio, and from what I’ve heard the anime is quite different from the visual novel. What led to you choosing to adapt this series for your first project, and what led to it changing from the source material?

Horikawa: So the producer at that time, Mr. Nagatani, had said, “Let’s work on a few projects together!” And out of those choices was True Tears. We thought that it was perfect for what we could do at that time. We also thought it granted us lots of freedom, too, because as long as the theme was “tears,” we could do what we wanted.

Hanasaku Iroha is a series that shows the charm of the countryside and Japanese tradition. It seems that more and more anime are focused on the promotion of tourism to regions of Japan. You created the Bonbori Festival in Hanasaku Iroha, but was the promotion of a region of Japan a part of production from the very beginning?

Horikawa: When we made Hanasaku Iroha at first, we didn’t intend for it to empower tourism, quite the opposite, actually. Recently, there are many cases where anime fans go to the locations where their favorite anime take place. Some people call it going to “holy sites” or “investigating the show.” But while it can be a good thing, the act of fans going to these sites might not always be positive. When the fans gather, they might take pictures of, say, average houses and it might be very troublesome and disruptive. When I make select a location for a work, I think about how to have it so that even if fans visit it’ll be okay.

So when we were making Hanasaku Iroha, it was part of our thoughts that we would base it in a hot spring city that would be okay with having some volumes of fans coming. We also took care that the residents of that city would be notified when a large number of fans would come.

In regards to the Bonbori Festival, it originally wasn’t there, but it came up during the making of Hanasaku Iroha. We thought that, if it was a festival that the people could continue—not in the anime sense but that of a legitimate festival—that would have a much bigger, long-lasting, and positive impact. While an anime might be forgotten in a few years, a festival is part of Japanese culture and won’t be forgotten.

In Hanasaku Iroha, the grandmother is a very important character. In Shirobako, most of the characters are career women or out of high school. Tari Tari has one of my favorite characters, which is Takakura Naoko. Do you feel that there is a better market for series starring older characters, perhaps similar to the series you make now, but with people in their 20s and 30s?

Horikawa: As much as I would like to make something centered around older characters, there is such a thing as monetary value associated with characters. In Hanasaku Iroha, the characters were supposed to be out of school already and working, but due to those complications they became high school girls.

Since Shirobako, however, we took that step towards making the characters people who are actually out of school and working. That was a great adventure for us. Since we found out that Shirobako was indeed a success, we have shown that the girls don’t have to be in high school for fans to be interested. So, it was great to find out that fans like mature women as much as high school.

There are a number of characters in Shirobako based on real creators, for example Maruayma Masao and Anno Hideaki. Did you consult them in your portrayals, and did they have anything to say afterwards?

In terms of the people connected with those characters, we did ask them for their acknowledgement. The director knew Maruyama-san, so he probably asked Maruyama-san, while I asked people I know. But some seem to say that they never received the requests for acknowledgement.

Thank you.

Horikawa: Thank you very much.

If you liked this post, consider becoming a sponsor of Ogiue Maniax through Patreon. You can get rewards for higher pledges, including a chance to request topics for the blog.

Otakon 2016 Interview: LeSean Thomas

leseanthomas

I had the pleasure of interviewing LeSean Thomas at Otakon 2016, where he was debuting his new animated short, Cannon Busters. Though we didn’t talk much about Cannon Busters itself, I was pleased to find out about his life as an artist, his philosophy on art and anime, and even his family.

Ogiue Maniax: So you grew up in the Bronx, and I assume that you had some sort of arts education. Could you describe what it was like to grow up as an artist?

LeSean Thomas: It was fairly okay. I stayed indoors quite a lot. I used to sketch a lot, sketch in school. You know, I grew up when hip-hop was growing up, and so a lot of stuff happened in the 80s in New York City. I thought it was cool. I had a lot of colleagues, a lot of friends in my apartment building, who I’d sketch with from time to time. I had a lot of friends in class who I could sketch with. I was into video games and sketching.

I think I decided to make it a career when I became a teenager. I moved to upstate NY for a period of time, to Middletown, and when I came back to the Bronx I decided to become an illustrator. I enrolled in a school that focused on the arts.

OM: Which high school?

LT: Julia Richmond High School. It was in Midtown Manhattan.

That was sort of my circle, and by the time I got back after I graduated high school I decided I wanted to become a comic book artist. But it was tough because there was a lot of competition in New York City—Marvel and DC. But I was also really influenced by animation, Japanese animation.

I landed a couple of opportunities that led me to work in animation production, and one thing led to another. I got onto a couple of big shows, and I was able to use that to build up momentum to work on more shows and create opportunities for myself.

OM: More and more young kids, teenagers, college students, are embracing anime and manga as part of how they get into art. I also know there’s concern that anime and manga are teaching the wrong lessons.

LT: What kind of wrong lessons?

OM: Like it’s teaching people to draw the wrong way or look at art the wrong way. And I’m sure already from your question to me you probably don’t agree with me.

LT: Yeah, I don’t.

OM: So I’m wondering, what would you think is the best way to use anime and manga in an arts education?

LT: I think you should do whatever you want. I haven’t ever heard anyone say to me that copying Picasso or Michelangelo, or Italian or French artists perfectly, is wrong. We get into this really weird, shaky territory where we start becoming ethnocentric towards specific countries and their art history. I think a lot of that is based off the fact that the US was a European colony, and our history is based off of European history, and our art history is European. What’s wrong with India? What’s wrong with Mumbai? What’s wrong with China. I think that, respectfully, it’s just the way it is, but I don’t think that a lot of thought is given into how we judge children who copy the styles of other countries, as opposed to what our curriculum forces us to teach, which is European art history.

I know a lot of graphic designers who are brilliant who don’t study European stuff, they study Japanese art. When you’re in a school, you’re programmed and taught to be an employee and not an auteur, and I think that plays a big role in how teachers choose to enforce their ideals onto students, who are very impressionable at a young age. I’ve also noticed, in my experience, that a lot of teachers are graduates who couldn’t find jobs themselves. You have this cyclical dynamic happening where teachers who don’t have a lot of experience are telling kids what they should and shouldn’t draw.

How did Murakami learn how to draw? When you’re telling kids how to draw, you’re telling them how to interpret art. It’s not right. When you’re telling them how to respond to art, you’re robbing them of the privilege of interpreting art themselves, and interpreting how they learn. So I respectfully disagree with the logic that a child shouldn’t learn how to draw anime because of the historic implications behind that.

OM: You worked on The Boondocks, and it’s clear from the comic strip that Aaron McGruder is also very influenced by anime and manga. Is your mutual interest in how you came onto the show?

LT: Certainly my drawing style played a big role in choosing me to help him develop the early designs with the crew.

OM: The Boondocks as a comic strip was pretty forward thinking, advanced, and progressive, but the comic strip medium is a pretty conservative place. So when moving the series over to Adult Swim and an animated setting, was it a very conscious decision on your part and the staff’s part to push the envelope much further?

LT: No, that was actually Aaron’s mandate. I may be wrong, but I remember a rumor from around 2004, 2005—from someone in our circle—that Mike Lazzo, the head of Adult Swim, played a role in having Aaron push the envelope. So when I came on board, that was already a demand that came from on high. I was pretty detached from that. I was more focused on the visuals. A lot of that envelope pushing was in the writing. That was the stat quo on the production; we knew what we were getting into.

But as far as the decision from Aaron going from the conservative comic strip to the extreme in the animated form, I’m not privy to that. But there is a rumor that Adult Swim was encouraging that as well.

OM: You worked on Cannon Busters, and you mentioned previously about your friendship with Thomas Romain. You come from different cultural backgrounds, but you seem to have a lot in common. So what’s it like working with him?

LT: Well, Thomas is a westerner, whether we want to admit it or not. He speaks English, and while there are some things he doesn’t get about American culture, he’s still a westerner. That’s part of our common bond, as is our need to collaborate internationally. I think we’re kindred spirits. I told him that that, because of him leaving France to go to Japan and me leaving America to go to Korea for pretty much the same reason.

I like to use Thomas’s phrase, “world animation.” It’s not anime, and it’s not American animation. It’s world animation because of the nature of how it’s put together. I really respect Thomas. I like him a lot. I think he’s one of the most talented guys. He’s an incredible draftsman, and one of the most incredible thinkers. I’m going to see him next month when I go to Tokyo. He’s one of my favorite people.

OM: You worked in Korea, you’ve worked with the Japanese studio Satelight [on Cannon Busters], and you’ve worked with American companies. What’s it like working with different studios in different countries?

LT: In America, it’s pre-production and post-production, and that’s it for most shows. There are a lot of shows that are being animated in Flash in America, but most daytime animated shows are done in Korea.

Korea doesn’t do pre-production or post-production, so they’re just main production, largely. And Japan does all of it. And that’s the difference, at least in my personal experience. I could be wrong, but that’s the gist of what I got.

OM: You spent time in South Korea in the animation business. I know that Korea doesn’t create a lot of animation in pre-production or post-production, but I know there is a desire by South Korea, by the government and the animation business, to be known as an animation powerhouse.

LT: It’s mostly service work.

OM: Do you think there is a strong potential for them to break out and become their own thing?

LT: I think so. I don’t know if the problems that were there when I was in Korea are the same as the ones now, but I know the trick is to find venture capitalists who are interested in and see value in animation production beyond government funding and subsidization. I’m not sure if that’s something they’re risk-averse towards. When I was there back in 2009, 2010, there was a massive aversion towards taking a risk on animation over video games. And I’m not sure if that’s still an issue, but I definitely think they have the potential to stand out. I mean, why not? They animate most of our shows, and I think a lot of it has to do with just finding alternative revenue streams to finance original properties and projects.

It seems like there’s a slow coming back at the feature level, but it seems like everything sort of fizzled out once Wonderful Days aka Sky Blue died. I think that scared the industry in general, made everyone say, “Well, we’re not going to take this risk anymore.” I’m just waiting for a resurgence.

There are a few animated feature films that have come out in the past one or two years, like King of Pigs. It’s like, wow, they’re doing features now. They’re in film festivals.

Overall, do I think they have the potential? Of course. If they can do Sky Blue, they can do anything. I just think they have to figure out internally within the industry, within their government and culture, how to create a platform for creating original content. And they also need to motivate young kids. A lot of kids are going into game design instead of animation because of work labor and pay and all that.

OM: My last question is this: Your little brother is Sanford Kelly, the fighting game pro. Growing up, did you notice that he had a talent for fighting games?

LT: Yeah, he learned all his gaming from me [laughs].

Me, him, my older brother Kelby, and my two sisters Valtvaia and Shavon, we all lived in the same apartment with my mom and my grandmother. So we all came up, and video gaming was one of our major bonding aspects. We gamed hard. We played everything, PlayStation, Dreamcast, Turbo Grafx-16, Super Nintendo. That’s all we did. So by the time Sanford turned 18, we were so hardcore into it, we would go to the local arcade shops—back before there was only Chinatown Fair, in the mid-90s—and hit the sticks.

He just got really good, and he built up a circle in Chinatown Fair, in that area. I kind of moved on to animation and left the city to move to LA. I used to get on him about it. “You need to focus on other stuff.” But then when I started seeing him winning money and awards and stuff like that…

Gaming culture’s still relatively brand new. Talking about the early 2000s, where there were legit funded tournaments, he came up in that circuit where the Justin Wong and Daigo era was pretty much coming up. Now it’s a big thing. It’s on ESPN.

When he was coming up, I was a bit nervous about it, but then when I saw how well he was doing, and how he was creating a name for himself, I embraced it.

I get that quite often. “Oh my god, you’re brothers with Sanford Kelly, that’s so cool.”

OM: It’s kind of unlikely—well maybe not unlikely, but it’s interesting to have two different, talented brothers in two very different fields.

I’ll be honest, I’ve been forced over the years respect the game circuit. Because, like many people, if it’s not sponsored or it’s not on TV, then it’s still a subculture. And now it’s a major thing, so now it’s common for kids that I run into to say that they love Street Fighter and that they know who Sanford Kelly is. It’s still kind of weird, but it’s still really cool.

If you liked this post, consider becoming a sponsor of Ogiue Maniax through Patreon. You can get rewards for higher pledges, including a chance to request topics for the blog.

Otakon 2015 Interview: Takamatsu Shinji

This is an interview with director Takamatsu Shinji from Otakon 2015. Takamatsu as worked on many anime including Gundam X, the Brave (Yuusha) series

First question. Most Gundam series had romance but didn’t have it as a strong focus. Gundam X is a series that put the romance at the very forefront, and it was in some ways the main focus. Why was this decision made for this series?

It’ll be a long story!

I wanted to make something that was Gundam but not Gundam. One rule of Gundam X was to get out of Gundam and to be meta about Gundam, to do things that were not like “Gundam.

Before that, about a decade prior, you worked on Z Gundam and Gundam ZZ. What was your director Tomino Yoshiyuki, and how would compare his style to yours?

Well, I did grow up watching Gundam myself, and by the time I started to work at Sunrise Mr. Tomino was in the position of being a great director, so it was a scary prospect working with Tomino.

During Z Gundam I was production management, so I reported directly to him, and I was scolded by him every single day. There were days when I was scared about everything.

Romi Park is also at this event, and she gave a similar description of Tomino that is not inaccurate compared to yours.

However, Ms. Park worked with Mr. Tomino much later than I did, and if you look at Mr. Tomino at the time of Z Gundam, he really was off the wall.

You’re also very well known for your work on the Brave series, and you worked on many of them. What was the main reason you returned to the Brave series for so many years?

The first director of the Brave series, Yatabe [Katsuyoshi], brought me onto production for the show, and I worked on a little bit of Gundam in between. So, there was a hiatus for me, but otherwise I started from beginning to end for the entire series. And I got my debut as a director from the Brave series, so I am very much fond of the Brave series.

Might Gaine was my debut as a director, so I am particularly fond of it.

In that case, I have an interesting question to follow up with.

The Brave series is known for being very toy and merchandise-heavy but also having good storytelling, as well as in some cases the staff resisting the merchandising aspects of the Brave series. Two famous examples I know are a hidden cel in Goldran which sarcastically talks about it’s supposed to be a robot that’s easy to make into toys, and how Might Gaine’s ending is a criticism of the toy industry.

What were your and the staff’s feelings at the time, and how did the toy companies such as Takara react?

That’s a very deep and vexing question!

So when I was getting started with Might Gaine, I was told that there’s just supposed to be good and bad, and all I had to do was to have toys that featured good guys and bad guys who would just battle. The staff really felt we need to show some kind of resistance, and that that wouldn’t just be the end of the show. And by staff, I mean myself.

You did not work extensively on Gaogaigar, but I have to ask this question. Do you have any details you can share as to why Project Z never got off the ground?

That I don’t know about!

That’s okay! Moving on, another similar series you worked on was Chousoku Henkei Gyrozetter, which was based on an arcade game. How would you compare working on Gyrozetter vs. working on the Brave series?

Gyrozetter was based on a video game, so while the look and feel of the show may be similar to a giant robot show, production of the show was otherwise completely different.

Unlike previous shows, the robots came from video games, so it wasn’t really needed as a tangible object, and I thought we could have done more with that.

I did grow up watching toy merchandise-based shows and I did think about what if the robot were a toy, but that wasn’t reflected in the show. That would be my regret. I talked about the resistance to merchandising intent of the toy companies for your earlier question but I actually love toys.

Last question. In regards to Cute High Earth Defense Club Love!, people have talked a lot over the years about the idea of a magical boy series. Whenever anyone brings up magical girls, someone asks, what about magical girls? What was the motivation behind finally putting that into reality?

The producer pitched it to me, and I thought, wouldn’t it be fun to work on something no one’s ever done before? And it turned out to be fun. (laughs)

Thank you!

Thank you.