Animation is announced just before the game "Original animation main staff interview" and "Animation of Foreign Forlism"



It was released last Friday, November 28, 2014,Moe Gay Award 2014 Grand Prize·User Support AwardAwarded "Forrhythm beyond the blue"Animation is announced immediately before the game is released, and PS Vita version is planned to be released in 2016, and so on, it is decided one after another.

From the person who played the original, it is a place to wonder what kind of story it will be, and from those who do not play this work at the same time, what kind of animation will be the work that won the Moe GA Award It should be worrisome. Currently, work is being carried out for animation, but in the busy schedule, the main staff of the original game and the main staff of the animation gather at the main staff and what kind of work is being made I asked a story.

TV anime "Ao no Otohara rhythm" special page / sprite
http://aokana.net/animation/

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The outline of the work is like this.

A world where people can easily fly in the sky by the invention of shoes that generate antigravity, so-called "Grash".
Emerging Sky Sports "Flying Circus" flying in the sky became popular, and it was supposed to be adopted even for high school club activities.
A refreshing youth story of girls going to "Flying Circus" set in islands surrounded by the blue spreading seas.
Sometimes they hit and encourage each other and face strong rivals while heading towards their goals -

GIGAZINE (hereinafter, G):
First of all, please introduce yourself, along with the roles played in each work, what members are gathered.

Sprite Producer Sakamoto Akira (hereinafter referred to as Sakamoto):
I am Sakamoto, who is a producer at the game version.

Character design Suzumori (hereinafter, Suzumori):
It is Suzumori who was in charge of the original character design · original picture · directing · art director.

Planning / scenario charge Kono Nachi (hereinafter, Koio):
It is Kozoichi who was in charge of original planning and supervision of main scenario.

Encore film Film Fusaki Osaki (hereinafter Osaki):
I'm Okazaki who will do the director of the animated version, thank you.

Reiko Yoshida (hereinafter, Yoshida):
It is Yoshida of series composition and screenplay.

G:
Previously in sprite's work, "Love and election and chocolate"ButAnimationAlthough it is, in the case of this work how did animation planning move?

Sakamoto:
From the time I was planning the original, I was conscious with Mr. Kio and I was conscious of "It would be nice to be a work that can be animated", but an animation production company with a specific relationship There was not because we had to do it. When our sales representative was in business with another company, the staff who happened to happen to have talked to Mr. GONZO and the talk progressed. Actually, the decision to animate was around 3 weeks before the game was released.

G:
Since the announcement of animation was just before the game release, I thought that the plan was moving from the moment of production and it was planned to announce animation as game release, was not it?

Sakamoto:
Well, it was just before. As soon as I was told that it was better to announce it, I announced it on November 14th two weeks before release.

G:
When animation was announced, there was an arbitrary image that I was already at the first stage of production, but in the case of this work was information disclosure at a much earlier stage.

Sakamoto:
Yes. I think that you can understand that this is not a lie if you compare the announcement time with the broadcasting time (lol)

G:
Although it is said that there was a story saying that it would be nice to animate at the planning stage of the game, it was not decided.

Sakamoto:
Well, in the staff I was talking that it would be good to be an anime and thought that I would shoot animation, but that was only because it was the result of making an original plan to the last, It is not such a high-talk probability that you anticipate animation from (laugh)

Koio:
As a human being who knows how to make animation planned, I think that I had not thought of such confusing things (lol) To the end, as a result of making things imagined by us amateurs for making animation, "This is It is a place where animation is made, it is hard work "is completed.

G:
So, as a position of making animation, how was your first impression when you got a story?

Osaki:
I think that it was the end of 2014 that I got a story. I tried searching by title, I wrote "Animation decision!" On the official website, and I remember being surprised that "Oh!? Has been announced!?" It is quite an unusual pattern that has been announced at such an early timing, "I guess it is probably a hurried job?" I also thrilled that (lol)


Yoshida:
I think that it was after Director was determined to be Mr. Osaki.

Osaki:
Well, I saw that Reiko's name was in there ... I guess he got talked in the near term (laugh). I, the first director's work "Romeo × JulietI was allowed to bring it together, even after that I had to face the face, but I had a long time to do the work, I thought it was delightful.

Yoshida:
Well, I had opportunities to meet in various places, but it was a while since I worked (laugh)

G:
Please let me know in the animation process, if there is anything decided at the moment, such as "This should be done" "Do not do this".

Osaki:
Basically it is a world where the original is completed, so we are conforming, but since the medium is different between game and animation and we can not copy as it is, we are talking about how to convert .

G:
Since there are multiple heroine routes in the original, I think that the person who played the original point is the point which is the most interesting as to what kind of composition will be made in animation and who will be the root. Is there information that can be issued at the moment?

Suzumori:
It is the current flow that the weights of Asuka and Misaki are large and are treated with importance at the center.

Koio:
Even in the original, these two stories are on the front or back, or they are fighting for popularity 1 or 2, so we are doing it in a way that follows the story of these two people. Even from the original staff, I think that it is in a shape that does not disappoint expectations.

Suzumori:
Akira Aya (master) who is the main character of the original draws one step, and these two people feel like being center.

Sakamoto:
It is a feeling that it is making collections of the good points of the two routes where the original work was also good.

G:
In "Foreign Forlance Beyond Ao", popularity votes of main characters and sub characters and evaluation of works can be attached in the online user registration form, but from the free comment column the demands and opinions on animation are Are you being fed?

Sakamoto:
Many people say "I want to see this child's route with animation".


Suzumori:
Not only the favorite heroine, "I want to watch the flying circus with animation" is big. "I want to see the place of movement".

·note
This world is almost like modern Japan, but "anti gravity particles" which invalidate gravity are found. "Anti-graviton shoes (mainlyGraz) Can wear anti-gravity "Membrane" whole body by wearing, you can fly freely to the sky. "Flying circus"Is an emerging sport that uses this brush, the athlete changes to a special suits and grahs, fly around the horizontally and vertically flying area and compete for how many points can be earned within the time limit.

G:
Certainly, "Flying circus" appearing in the work is a fictitious sports, but it is carefully drawn so that it is not strange even if it exists, it is a very enjoyable theme how to draw with animation. How about as a director?

Osaki:
At the moment, it is a stage where it can only be said that "I am also looking forward to it" (laugh) Since it is also the liver of this work, it started from the point where I understand it after receiving the explanation "This is a sport" I feel like doing hot drama, what should I do? Should I do this? And the image is inflating. Just like the main characters are enjoying 'Flying Circus', we also want to make it a fun work making.

G:
Is it difficult to make a picture called "fly in the sky" as animation?

Osaki:
That's true ... ... There are many different things. Since Asuka which is keeping in the main has flying in the sky and flying circus is felt "feeling" feeling, how much it can be represented and how the drama part is hot, so that it fits that feeling I am working while twisting my head as to what to do in order to get it done.

G:
Has Yoshida already been working a lot?

Yoshida:
Well, it's just half past half past. Flying circus is a fictitious sports, but since the scale of the one episode of animation is not so long, it is how much we devise how to go to where the understanding and the excitement goes up. Today, depending on the content of the story, we are thinking about how to develop a game that is excitingly successful in animation, everyone thinking about it, we are going through trial and error.


G:
It is the place where both the animation side and the game side staff are building up in cooperation.

Koio:
Although there is a part which can be left to imagination of the reader about the depiction of movement in the game, since it becomes all concrete when it is made into animation, it can not be said that "I can not explain" ... At first, "writing I was thinking that something is anime, "but while I was doing, I realized that" it was not such an easy thing ... ".

Suzumori:
In the original, this kind of expression may not be good, but there was a part saying "It will be fine if done", but when it comes to animation it is becoming "tough, I'm sorry" (haha), newly There are also parts that caused the setting.

Koio:
Actually there is not that much part because there is an original so that you can easily convert.

G:
That's right, the director also said, but the medium difference is quite large.

Koio:
Yes, there were many parts that I did not understand until I tried.

Osaki:
From here "I would like to develop such a game, but how do I get this?" There are times when I consult with him.

Suzumori:
Then, "I understand, I will think about it for a moment", I use the figure to confirm, or I will use this board.


G:
This is……!

Suzumori:
It is an offline flying circus. I move this to grasp the situation of the game and check the position of the character.

Koio:
I also use those that put feathers on feet of commercial figures.

Osaki:
What character is where at the start and where the game is deployed from there and what is it? It is a matter of course, but you have to keep one by one.


Koio:
"This character and this character, you are talking normally as if you are about 30 meters away?" "Ah!?"

Osaki:
Of course, there are times when I show such ways in the production, but I can not move with the positional relationship fluctuating, so I'm consulting with you "Please, let's move it" while understanding it.

G:
I see. After understanding, there are things that you may dare make that kind of configuration.

Osaki:
There are ways to devise an angle and change the way to show. But even though it is a tense scene, it is not fun to show that you are talking with dozens of meters away (laugh)

G:
In creating animation in this way, do you have any places where you would like to stick to each other?

Koio:
When becoming animated, what I was worried about "Is this taken in?" Was part of the breadth and development of the story, how the character grew. As we three people still have a lot of hope for the game, I thought what would happen with animation, but I think that it is being advanced in a very good form. In addition, we consult with the part that we have to change from the game, and we are making convincing things.

G:
Fujiko F. Fujio explained "animation of his work as" to dress up ", but I feel that I have a very good relationship with this work.

Koio:
Well, already, really doing ... ....

Suzumori:
On the contrary, my daughter's goodness may have come to light.

Osaki:
I have kept my daughter ... (lol) I think that the drama is hot, so I think that you will have to pursue the character's emotions properly. Though it is necessary to develop what can be convinced when the viewer sees it, it is necessary to make it develop that can empathize, but just because you often do it only tracing the setup, the viewer will leave it unclear, so there is adjustment I will be careful while doing it.

G:
As a story I think that there are of course a part that you must follow the setup, but is there something like a trick that you do not think it is as ordered.

Osaki:
If it can prepare a development that the character moves naturally according to emotion though it is not as big as a knack but (laugh), it is not "it became such a flow because the expansion of the original is this", and the characters I think you can see it as if it moved spontaneously.

G:
In the game you will need to move "Flying Circus" shown in illustrations and sentences as animation. Do you have anything to notice to convey a feeling of liveliness?

Osaki:
That's right ...... Work is going on now, but it is not a normal fantasy or battle action but a sport, so I think whether gestures and expressions between intervals are becoming important, such as a small gap of movement. The movement of the action is natural, but there are things that you want to be aware of, for example, the little gesture after the battle, the expression at the moment when it got pinch. Because they are not supernatural, I think that it is necessary to have a human play.

G:
I think that the character design will change with the original and animation, but when becoming the character of animation "Is this important?" "Is there any point that I want you to be careful about here?"

Suzumori:
At the moment we are preparing highly reproducible items, so there is nothing to say. Rather, it feels like supplementing "I'm sorry, I'm sorry, this is" as I was thrust into "What's going on here?" Even if it is made to other designs, for example, in the case of Gurush, when I made a 360 degree design for anime, "It might not fit in this case ...", so the part that I adjusted There will be there.

G:
That means that you can see a further brushed up design from the game version ...?

Suzumori:
Yes.

Anime version Asuka's character design looks like this.


And Misaki's character design as the first public release (face front)


G:
I think that it is not only a character design with transparency but also the beauty of the background art, but this is also a serious point in making animation.

Osaki:
It is serious!

(All lol)

Osaki:
I am struggling, but I think that I should make it as much as I can expect.

G:
The background of the original is pretty much sticking out, do not you?

Suzumori:
I gathered photographs of the islands in the Kyushu district that I actually set in, and watched the background art collection of past animations set in the sky and the sea and made it "aim for this". However, the art board I am receiving is also very beautiful, and this is why I am studying and that the tension of our art staff is rising.

Osaki:
Because the animation staff also works hard to produce what is not defeated by the original, I think that good interaction will come out.

G:
Why did this island set the stage?

Sakamoto:
Although the element of "fly in the sky" comes up, I thought that I would like to make it not a SF but a modern Japanese world view, rather than a science fiction, since it would make it hard for me to make it in the near future. We chose the place among them and decided to set up the island in the Kyushu region.

Suzumori:
In the case of an island with a difference in elevation it is said that the living will be convenient by the brush, and the art staff checked the outer circumference of the island in Japan with Goole Earth "Good island is there?" While some candidates came out, the island which became the stage was beautiful in shape, and when I saw it from the top, the island and the ocean entered from where I decided to "Let's be here!"


G:
Such steady work ... ...!

Koio:
At the time of making the draft of the project is supposed to be more near future, and if we were talking about how to deviate too much from the present age, that art material came in with a shuddy, "I see, this is just Good. "

Suzumori:
When supposing the near future, the airborne island was thinking about the image of a gown goong gown .... However, it was settled in the present shape because it is not SF.

Koio:
If it remained, I think that animation became really difficult.

Osaki:
I do not want to think about it (lol)

Suzumori:
It was good at "flying country girls student" (laugh)

G:
I feel that it is a very good production environment, but if you are setting up animation and further setting up, is not there a part that you want reflected in the game also comes out?

Suzumori:
Well ... after seeing the finished animation, there may be a feeling that I would like to recreate the game once again (laugh)

Koio:
It may be (laugh) When I rebuild it like this, the part of "I could scrape down more" and "I was able to put in another scene" will definitely come out, so something else You may want to do it. I think I got a very lucky session.


Suzumori:
Even if you set it, I feel that many staff love you.

Koio:
However, after the end, I am satisfied with "I was able to do a nice exchange", but before going out to a meeting, I am worried "I do not have anything done or do not bother."

Osaki:
It is not the end of the whole supervision, but also we support you seriously, such as getting suggestions saying "How about this if you do this" for the details, and getting on a consultation.

G:
I think that the meeting has already been advanced variously already, but asking the staff of the original, is there a part that I understood deeper?

Osaki:
After all, it is greatly helped about the digging of each character, and there are times when you deepen while consulting with "This character, what should I do here".

G:
Mr. Yoshida was in the screenwriting work, was it an impressive character, or was there a part that this scene is good?

Yoshida:
When writing, each character gets a lot of honor ... .... When writing, since the feeling of these four main visuals was at the head, I think that the girls' individuality and character "bounces" as much as possible. Also, I understand their feelings and think that they want to cheer for them watching the game. Up to about 6 stories that I am working on in good shape with cooperating with the original people, even if it is the same as the game, something is different world, but if it is a character that can get a sense of familiarity I think not.

Suzumori:
When it was a game, I was watching everything with the coach's point of view, which is the hero, but since the group image is dramatic and the camera goes to various people because it is animation, the charm that we feel familiar with "Is there such a place?" Also comes out. I myself am reading the screenplay and thinking "Oh, I see ... ...." Just because I was looking from a line of sight as a coach, a boy from a classmate, is it said that the scenery is different?

Koio:
Although the hero had no choice but to heed the heartfelt feelings of the heroines, in the case of animation it is necessary to put out in the words of the heroines in the eyes of the heroines, so we will rethink this one again. "At this time, if you had thought of this, you have to say such lines."

Yoshida:
There is no relationship between girls because they are games as it is Akiya line of sight, but in animation the relationship changes, it is great to see the connection next to the heroines. As I am still a woman, it is easy to empathize to girls, so it is easier for people who say "Ayaka seen from her" sympathize. I think that is a different line of sight from the people who are making the game and the players.

Suzumori:
Akiya was a hero who had a slightly dark place, so I was watching the heroines through that filter, but by changing the point of view with Mr. Yoshida's script, "These kids had such a cute aspect There was a part which was noticed as "It is!"

Koio:
indeed. The flow of the story is in line with the original, but you may get the impression that if you see it it is totally different thing. This is not a bad meaning, I think that a new one was born, a fresh one was made.

Sakamoto:
When an original fan sees animation, I think that I will like more about characters. It's so cute (laugh)

Koio:
Three of the original staff here are among the most popular people who played "Foreign Front Rhythm", I think that "the original love is overflowing."


(All lol)

Koio:
But I think that it will be okay if these three people are convinced this much.

G:
Is there a part that you talked about in the screenwriting rather than what you initially assumed?

Yoshida:
Well ... I feel like moving beyond Asuka and Misasaki, rather than I thought. At the beginning, I was working while thinking that four people in the visual would go forward, but since there are surrounding characters, and even the students of other schools, spots are hit by various characters than I thought I think. Even if it was made to be true white or 莉 佳, it came out before.

Suzumori:
Many characters want to go out before (laugh)

Yoshida:
Satoin and san (laugh) I am writing, I will call "Sato clinic" in mind by myself. After that, the character comes out in front of you without permission, such as Takasato who is in charge of live performance, too.

G:
Especially this character starts running without permission ... ...

Yoshida:
It is truly white. Keeping its own position, there are also cute aspects that seems to be girls, so I think that everyone writes even if they write it.

Suzumori:
In a script, I think the cute is also condensed as the serifs hundreds have been tightly condensed in the game.

G:
Is there a director 's favorite character?

Osaki:
It seems that it always seems to be in touch with the work in this way, is it becoming a point of view of the eyes, or whether it is standing position of each professorial position if it says in the middle. Character It seems that I want to pick up the goodness of everyone, rather than getting into one person, each cute thing comes to see.

(All Nods)

G:
I think that there is a volume that can not be used entirely by animation for the amount of serifs in the game. Is not it difficult to drop in?

Yoshida:
I agree. Every time we are struggling to discuss where and how to spot the spot, everyone talks with us.

Koio:
In order to make this scene stand, if we do not cut it here, we are supposed to be sure there will certainly be, so it is going without problems.

Suzumori:
It is not the impression that "the original was shortened", but it is the impression that it reproduced well. That is the one that does not come out in the original, but there are also scenes that "that, here is really good".

Koio:
I do not think that it is a wasteful scene to watch, I think that each scene is properly reasoned.

G:
When I looked at the impression of the original fan, I heard a lot of voices saying that the character song was good. Although it may not be a question to hit the director at the moment, the schedule of song development etc. in the animated version ... ....

Osaki:
What do you think? (Lol). But, we already have something good that you can make a provisional song for the opening.

G:
It is a question in terms of music that is not a song, but will all new songs be made for animation? Or, does the original BGM be used?

Osaki:
After all, since I think that there is not only a picture but also a sound, the image of the original is thinking in the direction to make use of it, and I have received some suggestions.

Suzumori:
I told you with a feeling like "Do you think this song or something here?"

G:
I have been talking to you for a long time and I receive the impression that the work is being made at a happy site where the original game and the animation side coordinated. These questions might be a difficult question here ... ... Will any place be such a happy site?

(All lol)

Osaki:
How is that? (Laugh) I think that this kind of case is rare.

Koio:
I heard that another work I was involved in was a very happy site. That's because the generations who are being supervised are those who like games, so they understood the game well. So, in the future I have an image that rather happy sites will increase.

Osaki:
The side making animation is also usually playing in the game and the side making the game usually watching animation and there is a common item of the story, so I think that I can do it well .

Yoshida:
I agree. There is an increasing number of people who like animation on the creator side, rather than enjoying "straightening my work into animation", "What kind of work would be my work if animated?" I think whether there are more people enjoying that. It seems that there are an increasing number of original authors who enjoy the animation production performed by large people, unlike drawing manga by myself or making games.


G:
I see ... I'm sorry to have rude questions at the end of the last. So, I would like to receive a message from you every single word.

Osaki:
Although the scenario is progressing, I still have nothing to do with context work and so on from here, so at this point I can only say "I will try hard". I will be looking forward to the on air as it plans to develop a story that makes use of the personality of Shiraishi, Rika, and even the original characters, centering on Asuka and Misaki.

Yoshida:
Since the original author's side also cooperated and the "flying circus" is striving to be as exciting as possible as much as possible, we can support the appearance of the girls who are doing their best I am happy.

Koio:
I think that we have been doing consistently with animation about the part "enjoying and doing anything" and "working with a positive feeling" that was in the original game. I am also looking forward to it that it will be a work that gains power after seeing, so please look through and see.

Suzumori:
Although it was a high-calorie work that makes the original work very much, I feel that animation is a work that is tens of times as high as calorie. I am thinking that if you can see it, since I am making hard work so hard for everybody including the people of the production.

Sakamoto:
Everyone of the staff is very careful about the original, for example, there is confirmation even even one design of the accessory of the character, everything is put on the original check ...... this happy site may be never really again I do not. It is full of appreciation.

(All lol)

Sakamoto:
I think that I am going to do as much as possible as well, and I think that we have a very good relationship. I hope the fans will also be able to wait in anticipation for the broadcast.

G:
Thank you for today.

Animation "Foreign Forlism of Ao" is now underway for animation planning. Please look forward to the next report. Today · August 27 (Thursday), this image visual which was affixed to the talk site has been banned.


In 2016, the PlayStation Vita version "Ao no Oto Furism" will be released, and at the end of December 2015 immediately before that, Differ Ariake "Sprite LIVE 2015Because it is supposed to be held, fans will be looking forward to it as well.

in Interview,   Anime,   Game, Posted by logc_nt