A conversation between the main staff of 'Aokana: Four Rhythms Across the Blue', which will be adapted into an anime based on the Moe Game Award Grand Prize winner, featuring producer Akira Sakamoto, character designer Suzumori, main scenario supervisor Nachi Kio, director Fumitoshi Ozaki, and series composer Reiko Yoshida
'
Those who have played the original game are curious to know what kind of story it will be, and those who haven't played it are curious to know what kind of anime the Moe Game Award-winning work will become. Currently, the work is in the process of being made into an anime, and we managed to get the main staff of the original game and the main staff of the anime together in the midst of their busy schedules to talk about what kind of work they are trying to make.
Special page for the TV anime 'Aokana: Four Rhythms Across the Blue' / sprite
http://aokana.net/animation/
TV anime 'Aokana: Four Rhythms Across the Blue' (@aokana_TVanime) | Twitter
https://twitter.com/aokana_TVanime
The outline of the work is as follows:
A world where people can easily fly in the sky thanks to the invention of shoes that generate anti-gravity, known as 'Glash.'
The new sky sport of 'Flying Circus' has become popular and has even been adopted as a club activity in high schools.
An exhilarating coming-of-age story about girls who are passionate about 'Flying Circus' set on islands surrounded by the vast blue sea.
They clash at times, encourage each other, and work towards their own goals while facing powerful rivals.
GIGAZINE (hereinafter, G):
First of all, please introduce yourselves and tell us about the members who made up the group and the role each of you played in the production.
Sprite Producer Akira Sakamoto (hereinafter, Sakamoto):
My name is Sakamoto and I am the producer for the game version.
Character designer Suzumori-san (hereinafter, Suzumori):
I'm Suzumori, and I was in charge of character design, original drawings, direction, and art direction for the original work.
Planning and scenario writer Nachi Kio (hereinafter, Kio):
I'm Kio Nachi, who was in charge of planning the original work and supervising the main scenario.
Encourage Films’ Fumitoshi Ozaki (hereinafter, Ozaki):
My name is Ozaki, and I will be the director of the anime version. I look forward to working with you.
Reiko Yoshida (hereinafter, Yoshida):
I'm Yoshida, the series composer and scriptwriter.
G:
One of your works, ' Love, Election and Chocolate ,' was previously made into an anime , but how did the project to turn this work into an anime proceed?
Sakamoto:
From the time we were planning the original work, I was having meetings with Kio-san and was conscious of the idea that 'it would be nice to make a work that could be made into an anime,' but it wasn't because we had a specific relationship with an animation production company. When our sales representative was doing sales with someone from another company, the middleman happened to talk to GONZO, and the talks moved forward. In fact, the decision to make it into an anime was made about three weeks before the game was released.
G:
The announcement of the anime adaptation was made just before the game's release, so I thought that the planning had already begun while it was in production, and that the plan was to announce the anime adaptation to coincide with the game's release, but was that not the case?
Sakamoto:
Well, it was right before the fact. I was told that it would be best to announce it as soon as it was decided, so I announced it on November 14th, two weeks before the release date.
G:
When the anime adaptation was announced, I had the impression that the first stage of production had already begun, but in the case of this work, the information was released at an earlier stage.
Sakamoto:
Yes. If you compare the announcement date with the broadcast date, you will see that this is not a lie (laughs).
G:
Apparently, during the planning stage of the game, there was talk of it being made into an anime, but it hadn't been decided yet.
Sakamoto:
Yes, the staff had talked about how it would be nice to make it into an anime, and I thought it would look good in anime, but it only happened that way as a result of planning the original work. It's not like we were planning on making it into an anime from the beginning, so it's not like the odds are high (laughs).
Kio:
If someone who knows how to make anime had planned this, I don't think they would have thought of something this complicated (laughs). We are just amateurs when it comes to making anime, so we created something based on our imagination, and the result is something that makes you realize how difficult it is to turn this into an anime.
G:
So, from the perspective of someone making anime, what was your first impression when you heard about the project?
Oizaki:
I think I was approached at the end of 2014. When I searched for the title, I saw on the official website that it said 'Animation adaptation confirmed!' and I remember being surprised, thinking 'Wow! It's been announced!?' It was quite unusual for something to be announced so early, and I was a bit nervous, thinking 'Maybe it's a rush job?' (laughs)
Yoshida:
I think it was after it was decided that Ozaki would be the director.
Oizaki:
Oh, I think I saw Reiko's name in it too... I guess she must have been approached about that time (laughs). I worked with her on my first directorial work, ' Romeo x Juliet ,' and we'd met after that, but it'd been a while since we last worked together, so I was really happy.
Yoshida:
Yes, we've had many opportunities to meet, but it's been a while since we last met for work (laughs).
G:
Regarding the anime adaptation, are there any decisions that have been made so far, such as 'this is something we should do' or 'this is something we shouldn't do'? Please let us know.
Oizaki:
Basically, we are following the original work's completed world, but since games and anime are different mediums, we can't just copy it as is, so we're currently discussing and making adjustments about how to convert it.
G:
Since the original work has multiple heroine routes, I think the biggest concern for people who have played the original work is how the anime will be structured and whose route it will be. Is there any information you can provide at this point?
Suzumori:
The current trend is that Asuka and Misaki have a lot of weight and are treated with care at the center.
Kio:
In the original work, the stories of these two are like two sides of the same coin, and they are the most popular, so we are following the story of these two. I think that even from the perspective of the original staff, it will not disappoint.
Suzumori:
It seems like Masaya, the protagonist of the original work, has taken a step back and these two take center stage.
Sakamoto:
It feels like it combines the best parts of the two routes that were well-received in the original work.
G:
In 'Aokana: Four Rhythms Across the Blue,' users can vote for their favorite main and supporting characters and rate the work in the online user registration form. Have you received any requests or opinions about the anime in the free comment section?
Sakamoto:
There are many people who say, 'I want to see this girl's route in the anime.'
Suzumori:
Regardless of which heroine you like, there are many voices saying, 'I want to see the Flying Circus in an anime.' 'I want to see it in motion.'
Note
This world is almost identical to modern Japan, but 'antigravity particles' that neutralize gravity have been discovered. By wearing 'Antigraviton Shoes (mainly called Glashu )', the wearer can cover their entire body with an antigraviton 'membrane', allowing them to fly freely in the sky. ' Flying Circus ' is a new sport that makes use of this Glashu, in which competitors change into special suits and Glashu, fly around the area where they can fly in all directions, and compete to see how many points they can earn within the time limit.
G:
Indeed, the 'Flying Circus' that appears in the film is a fictional sport, but it is carefully and thoroughly depicted so that it would not be out of place if it actually existed, and it is a subject that I am very excited to see how it will be portrayed in the anime. What are your thoughts as the director?
Oizaki:
At this point, I can only say, 'I'm looking forward to it too' (laughs). Since it's the heart of this work, I started by being explained to me that it's a sport, but I feel like I'm doing a hot drama, and I'm expanding my imagination, thinking, 'What should I do? Should I do it like this?' Just as the main characters enjoy the 'Flying Circus,' we also want to make it a fun work to make.
G:
Is it difficult to create a scene of flying in the sky in an animation?
Oizaki:
Well, that varies widely. Asuka, the main character, feels 'fun' about flying in the sky and the flying circus, so I'm trying to think of how much I can express that, and how I can get the audience to empathize with that feeling, because the drama is intense.
G:
Has Yoshida-san already made significant progress on the work?
Yoshida:
Yes, we're a little over halfway through. Flying Circus is a fictional sport, but each episode of the anime isn't that long, so the challenge is to see how much the viewers can understand and get excited about it. Right now, we're all working together to think about how to develop the game in a way that will get the viewers excited in the anime, in line with the content of the story, and we're trying different things.
G:
It's something that staff from both the anime and game sides are working together to create.
Kio:
In games, there are parts where the depiction of movements is left to the reader's imagination, but when it's made into an anime, it all becomes more concrete, so it's not like they can say 'I can't explain it'...At first, I thought, 'I can just get them to turn what's written into an anime,' but as I worked on it, I realized, 'It's not that simple.'
Suzumori:
In the original work, and this may not be the best way to put it, there were some parts where we thought, 'If we do it like this, it'll be fine,' but when it came to turning it into an anime, we had to say, 'Sorry, this is harsh,' (laughs), and we created some new settings for some parts.
Kio:
In fact, there aren't many aspects that can be easily converted just because there is an original work.
G:
I see. As the director also said, the difference between the media is quite big.
Kio:
Yes, there were many things I couldn't understand until I tried it.
Oizaki:
Sometimes we will ask for advice, saying, 'I would like the game to unfold like this, how can we make it happen?'
Suzumori:
Then I say, 'Okay, let me think about it,' and I confirm with a figure or I use this board.
G:
This is...!
Suzumori:
This is an offline flying circus. I use it to understand the game situation and to check the position of the characters.
Kio:
I also use commercially available figures with wings attached to the feet.
Oizaki:
Where are the characters at the start, and where will they be as the game progresses? Of course, you have to keep track of each one.
Kio:
``These characters are about 30 meters apart, but they're still talking to each other normally!'' ``What!?''
Oizaki:
Of course, there are times when we show it that way for production purposes, but we can't move it if the positional relationships remain vague, so after understanding and confirming it, we discuss, 'Okay, let's move it like this.'
G:
I see. So even after understanding that, you still go ahead and make it that way.
Oizaki:
There are ways to do it, such as changing the angle or the way it's shown. But it's not funny to show a scene that's tense, with people arguing dozens of meters away (laughs).
G:
When making an anime like this, are there any areas that both of you want to pay particular attention to?
Kio:
When it was going to be made into an anime, we were worried about whether it would be incorporated or not, and were wondering about the outline and development of the story, and how the characters would grow. The three of us have a strong attachment to the game, so we wondered how it would turn out in the anime, but I think it's progressing in a really good way. We also consulted with them about the parts that needed to be changed from the game, and they made something that we were happy with.
G:
Fujiko F. Fujio described the animation of his work as 'sending it off as a bride,' and I feel that we have built a very good relationship with this project.
Kio:
Oh man, you've really been so kind to me...
Suzumori:
On the contrary, I may have discovered a new good side to my daughter.
Oizaki:
I've been entrusted with the daughter... (laughs) Here, the drama is intense, so I think I have to follow the emotions of the characters properly. It has to be something that viewers can understand when they watch it, and it has to be a development that they can empathize with, but if I just go through the motions because there's a lot to do, the viewers will be left behind, so I'm careful to make adjustments there.
G:
Of course, there are parts of the story where you have to follow a procedure, but are there any tips to make it seem like you're not following a procedure?
Oizaki:
It's not really a trick (lol), but if you can create a plot that allows the characters to act naturally in accordance with their emotions, I think it will look as if the characters acted of their own accord, rather than 'the plot unfolded like this because that's how it happened in the original work.'
G:
In the game, the 'Flying Circus' is shown through illustrations and text, but in the anime it needs to be made to move. Is there anything you need to be careful about in order to convey a sense of dynamism?
Oizaki:
Well, I guess... I've yet to start working on it, but since it's not a normal fantasy or battle action film but a sport, I think the little gaps in their movements, or the gestures and expressions in between, will be important. Of course, the action movements are important, but I also want to pay attention to the little gestures they make after they've finished fighting, and the expressions they make when they're in trouble. The girls aren't superhumans, so I think they need to act in a way that feels human.
G:
I think the character designs are different between the original and the anime, but when it comes to creating the characters for the anime, are there any points you would like to tell them, like 'This is important' or 'Please be careful of this'?
Suzumori:
At this point, they have prepared a very high level of reproduction, so I have nothing to say. Rather, it's like they ask me, 'What's going on here?' and I respond with, 'Oh, sorry, it's like this.' As for other designs, for example, with Grash, when they made a 360-degree design for the anime, they said, 'Maybe my feet won't fit in this way...' so they adjusted some parts.
G:
Does this mean we'll see a design that's been further refined from the game version...?
Suzumori:
yes.
The character design of Asuka in the anime version looks like this.
And the first public reveal of Misaki's character design (front face)
G:
I think this is a work that not only has transparent character designs, but also beautiful background art, which must be a difficult point to consider when adapting it into an anime.
Oizaki:
This is terrible!
(Everyone laughs)
Oizaki:
It will be hard work, but I want to make it something that people will look forward to.
G:
The original background is depicted with great care.
Suzumori:
I collected photos of the islands in Kyushu that were the setting for the game, and looked at background art from past anime that were set in the sky or sea, and decided to aim for this. However, the art board I received now is also very beautiful, and my art staff is excited, saying that they have learned a lot from it.
Oizaki:
The anime staff are also working hard to create something that is just as good as the original, so I hope we can see some good interactions between them.
G:
Why did you choose these islands as the setting?
Sakamoto:
Although the element of 'flying in the sky' appears, if it is set in the near future, it will lose its familiarity, so I wanted to create a world view of a slightly rural modern Japan rather than science fiction. From there, I selected a location and decided to set the story on an island in the Kyushu region.
Suzumori:
The art staff thought that life on an island with a difference in elevation would be made more convenient by Grash, so they checked the perimeters of islands all over Japan on Google Earth, asking, 'Is there a good island?' Of the several candidates, the island that was the setting for this story has a beautiful shape, and when viewed from above, you can see the island and the sea from all sides, so they decided, 'Let's make this one!'
G:
Such tedious work...!
Kio:
When we created the draft plan, we were imagining a more near future, and we were wondering whether it would stray too far from the present, when suddenly these art materials arrived, and we thought, 'I see, this is just right.'
Suzumori:
When we were imagining the near future, we also considered the image of a flying island going 'gurgling'... but since it's not science fiction, we settled on the current form.
Kio:
If it had continued like that, I think it would have been really difficult to adapt it into an anime.
Oizaki:
I don't want to think about it (laughs).
Suzumori:
'Flying Country Schoolgirl' was good (laughs).
G:
It feels like an extremely good production environment, but as you work on finalizing the settings for the anime, aren't there any aspects that you would like to reflect in the game?
Suzumori:
That's right... After seeing the finished anime, you might feel like remaking the game again (laughs).
Kio:
That may be true (laughs). When we reconstruct something like this, we inevitably come across parts where we think, 'Maybe we could have trimmed it down a bit more,' or 'Maybe we could have added one more scene,' so we might want to do something again. I think we were able to have a very lucky session.
Suzumori:
Even with the setting, I feel that various staff members have put a lot of love into it.
Kio:
However, although after the meeting I feel a sense of satisfaction that I had a good exchange, before leaving for the meeting I feel worried, wondering, 'Am I doing something wrong? Am I causing trouble?'
Oizaki:
They don't just supervise the whole project; they also offer suggestions on the finer details, like 'What if we did it this way?' and give advice, providing constant support.
G:
I imagine you have already had various meetings, but are there any areas where you were able to gain deeper insight by speaking with the staff of the original work?
Oizaki:
As expected, it has been a great help in delving deeper into each character, and there are times when we discuss things further and say, 'What should we do with this character?'
G:
Mr. Yoshida, while you were working on the script, were there any characters that stood out to you or scenes that you thought were great?
Yoshida:
As I write, I start to feel attached to each character... When I was writing, I had the main visuals of these four girls in mind, so I wanted the girls' personalities and characters to 'jump' as much as possible. I also want the audience to understand their feelings and want to cheer them on while watching the game. I've been working on the first 6 episodes in a good way, cooperating with the original writers, and although it's the same as the game, it's a different world, but I think the characters are easy to relate to.
Suzumori:
In the game, everything was seen from the perspective of the coach, the main character, but in the anime, it's more of an ensemble drama, and the camera goes to various people, so it's appealing to feel closer to them and think, 'Oh, so there were other places like this too.' When I read the script, I sometimes think, 'Oh, I see...' I couldn't help but see it from the perspective of a coach, a boy in his class, so the scenery is different.
Kio:
The hero had no choice but to guess what the heroines were feeling, but in the anime it has to be told from their point of view and in their own words, so it makes you rethink things. 'If that's what they were thinking at that time, then they should say these lines.'
Yoshida:
In the game, the story is told from Akiya's point of view, so there are no horizontal relationships between the girls, but in the anime, that relationship changes, and the horizontal connections between the heroines become visible, which is a big thing. As a woman, I can easily empathize with the girls, so it's easier for me to empathize with 'Akiya as seen by them.' I think that's a different perspective from the people who make the game and the people who play it.
Suzumori:
Akiya was the main character, and he had a slightly dark side, so I saw the heroines through that filter, but Yoshida's script changed my perspective and there were times when I realized, 'Oh, these girls have this cute side too!'
Kio:
That's certainly true. The story follows the original, but when you watch it you might get the impression that it's something completely different. I don't mean this in a bad way, I see it as something new and fresh being born.
Sakamoto:
I think that fans of the original work will love the characters even more if they watch the anime. They're so cute (laughs).
Kio:
I think that the three original staff members here are the ones who are most 'filled with love for the original work' out of all the people who have played 'Aokana: Four Rhythm Across the Blue.'
(Everyone laughs)
Kio:
But, if these three people are so convinced, I think it'll be fine.
G:
While working on the script, were there any parts where the conversation flowed more smoothly than you had originally anticipated?
Yoshida:
That's right... I feel like more characters than I expected, other than Asuka and Misaki, are starting to move forward. At first, I was working on it thinking that it would be just the four in the visuals, but with the surrounding characters and even students from other schools, I think the spotlight is on a lot more characters than I expected. Even Mashiro and Rika have come forward more.
Suzumori:
There are a lot of characters who want to step forward (laughs).
Yoshida:
For example, Satouin-san (laughs) When I was writing, I found myself calling her 'Satouin-san' without even thinking about it. Also, for example, the character Minori, who is in charge of the commentary, just naturally comes forward.
G:
This character in particular just seems to take off running on his own...
Yoshida:
It's Mashiro. She has her own unique position and also has a cute, girly side, so I think anyone can write her.
Suzumori:
The script condenses the hundreds of lines that were in the game into a tighter version, so I think it also condenses the cuteness.
G:
Do you have a favorite character as a director?
Oizaki:
This is always the case when I come into contact with a work like this, but I end up seeing it from a parent's perspective, or perhaps I'm in the position of Kagami-sensei in the story. Rather than getting into the mind of one character, I can see the cuteness of each one, and I find myself wanting to pick up on the good points of everyone.
(Everyone nods)
G:
I think the amount of dialogue in the game is so large that it would be impossible to use all of it in the anime. Isn't it difficult to incorporate it all?
Yoshida:
That's right. We always struggle with deciding what to cut and where to focus, but we all discuss it together and move forward.
Kio:
We knew that if we wanted to make this scene work, we would have to cut out certain parts, and so we were able to move forward without any problems.
Suzumori:
I don't get the impression that they just shortened the original, but rather that they've done a good job recreating it. There are even scenes that aren't in the original that make me go, 'Oh? This part is really good.'
Kio:
There aren't any unnecessary scenes to watch, and I feel like each and every scene has a clear reason behind it.
G:
Looking at the impressions of fans of the original work, there were many comments saying that the character songs were good. This may not be a question to ask the director at this point, but are there plans to feature songs in the anime version?
Oizaki:
I wonder what it will be like? (laughs) But, the opening song has already been written and it's a good one.
G:
Regarding the non-song aspect of the music, will all new songs be written for the anime, or will the original background music be used?
Oizaki:
I believe that the image of the original work includes not only the pictures but also the sounds, so we are thinking about how to make use of that and have received several suggestions.
Suzumori:
I told them something like, 'How about this song here?'
G:
As I've been listening to you talk, I get the impression that the original game and the anime are working together in a happy environment. This might be a difficult question to ask here, but... is it a happy environment like this everywhere?
(Everyone laughs)
Oizaki:
What do you think? (laughs) I don't think this kind of case is rare.
Kio:
I heard that another production I was involved in was also a very happy production. That's because the current directors are from a generation that loves games, so they have a good understanding of games. So I have the image that there will be more happy productions in the future.
Oizaki:
The people who make anime also play games on a regular basis, and the people who make games also watch anime on a regular basis, so there are common threads between the two, and I think it would work well together.
Yoshida:
That's right. There are more and more creators who love anime, and rather than simply enjoying the fact that their work is being made into an anime, I think there are more and more people who enjoy thinking about what kind of work their work will be made into an anime. It's different from drawing manga or creating games by yourself, but I feel like there are more and more original authors who enjoy the process of anime production itself, which is done by a large group of people.
G:
I see... I apologize for asking such a ridiculous question at the very end. Now, I would like to ask each of you to give a brief message.
Oizaki:
The script is progressing, but there are still storyboards and other things to be done, so at this point I can only say, 'I'll do my best.' The story will be centered around Asuka and Misaki, but will also feature Mashiro and Rika, as well as the individuality of the original characters, so I hope you'll look forward to it airing.
Yoshida:
We are working hard with the original author to make 'Flying Circus' as easy to understand and exciting as possible, so we hope you will support the girls as they work hard to make it happen.
Kio:
I think that the original game's message of 'enjoying everything you do' and 'approaching with a positive attitude' is consistent in the anime. I'm looking forward to it being a work that will give you strength after watching it, so please be sure to watch it all the way through.
Suzumori:
The original work was a very high-calorie piece to make, but I feel that the anime is dozens of times more so. Everyone, including the production team, has worked really hard to make it, so I hope you'll enjoy it.
Sakamoto:
All the staff members were very considerate of the original work, for example, they even checked the design of one character's accessory, and they checked everything against the original work... I don't think I'll ever be on such a happy set again. I'm so grateful.
(Everyone laughs)
Sakamoto:
In response to that, we are also trying to do everything we can, and I think we have built a really good relationship. I hope that the fans can relax and look forward to the broadcast.
G:
Thank you for today.
The anime 'Aokana: Four Rhythms Across the Blue' is currently in the process of being adapted into an anime. Please look forward to the follow-up news. Today, August 27th (Thursday), this image visual that was posted at the talk venue was released.
Furthermore, a PlayStation Vita version of 'Aokana: Four Rhythms Across the Blue' is scheduled for release in 2016, and just before that, ' sprite LIVE 2015 ' will be held at Differ Ariake at the end of December 2015, so fans can look forward to this as well.
Related Posts:
