Interview with Reiko Yoshida, director of 'Sorcerous Stabber Orphen Hagure Journey' directed by Takayuki Hamana and how the original work over the 25th anniversary was animated
The original of the anime ' Sorcerous Stabber Orphen Hagure Journey ', which has been on air since January 2020, is a novel that started in 1994. It was completed once in 2003, but a new edition was published in 2011, and a new series started and continues as of 2020. I had the opportunity to talk to director
TV anime 'Sorcerous Stabber Orphen Hagure Journey' Official Website
http://ssorphen-anime.com/
'Sorcerous Stabber Orphen Hagure Journey' is on air from January 7th! (@ Orphen25_tv) / Twitter
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Q: Q:
First of all, please tell us how Director Hamana asked Mr. Yoshida to write the script.
Director Takayuki Hamana (hereinafter referred to as Hamana):
When I read this original, there were some difficult parts in the character's emotions and content, so I thought, 'I really want a reliable writer to do it,' and the first thing that came to my mind was Mr. Yoshida. I've worked with Mr. Yoshida a long time ago, and since then I thought he was a reliable writer, so I'm glad you did it this time.
Q: Q:
Did Mr. Yoshida know 'Sorcerous Stabber Orphen'?
Reiko Yoshida (hereinafter referred to as Yoshida):
Yes, I knew the title of the work.
Q: Q:
How was it when you received the script request?
Yoshida:
It's a kind of revival or re-animation, so I thought about 'what if I do this now' and 'Is it a work that you can see now?'
Q: Q:
Did the director ask you to do this when writing the script?
Hamana:
It was a story that I wanted to focus on the original work in this series itself, so I thought that Mr. Yoshida would be able to put it together well. There wasn't much from me and I felt like 'Thank you' (laughs)
Yoshida:
I thought that the director's intention was not to focus on action, but to be something that people who are looking at the character's emotions can follow, so I cherished that. ..
GIGAZINE (G):
As the director said, 'Emphasis on the original', this time, episodes 1 to 3 are based on the original volume 1 'Respond to my call, beast', and the pre-edition story is included in episode 4. So, from the 5th episode, the composition is like 'Gather in my forest, wolf' ... How did you decide this?
Hamana:
I was told that I would like to include the 'pre-edition' from the original side. After that, I think it was up to Mr. Yoshida of the series composition to decide what kind of story to put in at what timing. At the scenario stage, there was a question, 'This story is difficult, so let's talk about it differently.' But basically, I think Mr. Yoshida put it in well.
G:
Is the episode selection from the many pre-editions by Mr. Yoshida?
Yoshida:
A female producer was a big fan of Orphen and told me that 'I like this' and 'This story is important' (laughs).
G:
I see (laughs)
Yoshida:
I did it while referring to the opinions of the editor in charge and the voices of the readers.
Q: Q:
As for the number of episodes, there are 13 episodes broadcast and 14 episodes that are not broadcast, but is there anything that left an impression on you during the meeting that decides the composition?
Hamana:
I thought about how to put together this long story, whether it should be 2 episodes or 3 episodes because even one episode is long, and whether this block is possible or not, as one story. The story between them may be fun when viewed as a scenario, but when viewed normally, there may be insufficient actions, so I added or subtracted, but in the big part, first I don't think it deviates from what Mr. Yoshida did.
Q: Q:
How about Mr. Yoshida?
Yoshida:
Azalea is an important person in drawing Orphen, and I thought that if I didn't understand my feelings for Azalea, I wouldn't understand why I was chasing so much. The part that motivated me was drawn in the pre-edition, so I felt that I added an episode in the middle that would make me understand Orphen's feelings for Azalea.
Q: Q:
By putting together a long series, I think you talked about the original elements, but how was it?
Hamana:
The adhesive part between the pre-edition and the main part is like the original. Even in the second episode, there is a glimpse of the pre-edition element in the middle, and I think that the part that is neither the original nor the pre-edition is the anime original element. I think Mr. Yoshida has successfully connected this point. Also, since the original started as a one-shot work at first, there are parts that are inconsistent with the second and subsequent volumes, so I talked about changing from the original.
Q: Q:
The name of Azary came out, but was there a person who was particular about the character's feelings and said, 'I want to show this character?'
Yoshida:
After all child man is the key. It only appears at the beginning in a living form (laughs), but Childman's will and thoughts move everyone. So is Azary, so is Orphen ... I was careful to portray that he was a witch and a mysterious and mysterious person.
G:
I was attracted to the catch phrase 'Regain time' that was attached when this visual ban was lifted. Who thought of this?
Genco Advertiser:
This is the promotion (laughs). Since it's a work that has passed the 25th anniversary, some people may be dragging something, so I decided to go with this.
G:
I see (laughs). Among the works that Mr. Yoshida deals with, there are some works that have a large number of characters that fall into the category of so-called 'main characters', and I saw that it is difficult to keep an eye on the characters. In this work, there are three people, Orphen, Krieou, and Magic, as 'Orphen's party', so is that easy to do?
Yoshida:
I agree. However, there are cases where the past human relationships are complicated and the person himself does not appear, so it was difficult to show such characters. I only get in touch with Azary here and there, and other people are a thing of the past in the first place.
G:
I see, it's difficult because the person doesn't come out. So, from the perspective of the main story, is there a place where you can draw and compose well by interweaving the pre-hen that the characters of the past appear?
Yoshida:
For example, Komicron will die soon in the main story (laughs).
G:
(Lol)
Yoshida:
It's also a popular character, so I thought about how to show it. By including the pre-edition, I think that he was able to understand what kind of person he was and what the Childman classroom was like, so that he could understand the past part of Orphen.
G:
Is there a character that is easy to write on the script?
Yoshida:
It's easier to write for characters who don't have one in their stomach. Because it's simple. In that respect, the magician group does not say what they think straight, so I was careful not to overstate it and not overstate it. It's easier to write what you're thinking and what you're thinking, like Krieou, but it's more interesting to have both sides as a human bulge.
G:
Rumi Okubo, who played the Kuriou, is a big fan of the work. On the other hand, Shotaro Morikubo has a career of 20 years as Orphen. What kind of atmosphere does the dubbing site with such casts have?
Hamana:
It's very good and I think he played well. I think Azalea was a very difficult character for a play, but everyone is a good actor. If you get nervous and stiff, your work will be boring, but with Mr. Morikubo, I think you played with confidence.
G:
There is no need to instruct the director, 'This is it.'
Hamana:
I was looking at it with confidence. I've been working with sound director
G:
By the way, you said that Director Hamana called out to Mr. Yoshida. What was the flow of Director Hamana's participation in this work?
Hamana:
I heard from the producer of Studio Dean that there was such a project, and it was interesting to read the original, so please do not miss it.
G:
How was the feeling of reading the original?
Hamana:
It's very interesting and I want to do this. Especially, I wanted to tell the whole story of the first Azary.
G:
When I interviewed the original author, Yoshinobu Akita , when making the animation, Mr. Akita said, 'Because it was a work when I was young, there are many strange things.' Earlier, the director also said that there was a discrepancy because it was not originally written as a continuation, but did you have any request that 'I want this machine to be corrected in this way'?
Hamana:
First, Dr. Akita wrote a memo saying, 'There are some parts of the original that are inconsistent, so I think it's better to do this.' However, there is also 'the goodness because it was written as a one-shot work', so I got OK from the original side in the direction of leaving the part 'It will not be consistent, but this is better', and Mr. Yoshida summarized it. It was.
G:
'Even if the consistency is as suggested, this is more interesting.'
Yoshida:
It's a work 20 years ago, so there is a saying, 'Looking back, I wanted to do this, I wanted to do that.' No way, Professor Akita didn't want to get back in time either.
(Everyone laughs)
Yoshida:
The idea I received was more serious, but the first 'playing condition' is also the appeal of Orphen. Everyone would love the Orphens announced in the past, and I thought the producer wanted to do this Orphen, so I took good care of it.
G:
Mr. Yoshida once wrote on Shikishi as a message to the juniors of the Scenario Center, ' I believe that love and passion create something ... '. What kind of place did you love in this work?
Yoshida:
After all, are they characters? I think that the creators will understand why they behave in this way, and by being close to the characters, they will be able to organize them.
G:
When I was watching the anime this time, I thought 'Oh' because Director Hamana was in charge of the storyboards for episodes 1, 2, and 3. Recently, there are many cases where people other than the director cut the storyboard from the first episode, so it's a bit unusual. Is this because of the idea you mentioned earlier, 'I definitely want to do it at Azalea'?
Hamana:
I agree. 'It's okay to burn it out' (laughs)
(Everyone laughs)
Hamana:
I had some time to spare in terms of schedule, so I asked him to do at least episodes 1 and 3.
G:
In the first episode, the director's name was also in the original picture.
Hamana:
I don't think the original picture is such a big deal. It's about helping.
G:
Is it because you want to participate in the first episode of the original picture?
Hamana:
Maybe it's faster for me to do it, and that doesn't mean anything (laughs). I knew about this work, so it might have been easier if I did it myself (laughs).
G:
This time, the character design is done by
Cover of ' Magician Orphen Hagure Journey Pre-Edition 1 ' published in January 2019 by Mr. Kusaka
Orphen in the main part of the anime
Hamana:
Mr. Yoshida, who designed it, has a big intention. I'm a person who is close to anime, so I think it's better to have a design that is easy to move and does not collapse the character, but Mr. Yoshida is conscious of the part of Mr. Kusagawa's design that has different nuances depending on the picture. was doing. Sometimes Mr. Yoshida likes 'Mr. Kusagawa's paintings'.
G:
Is Kusagawa's painting a design that is not easy to move when you think of it as an 'animation painting'?
Hamana:
I agree……. The paintings I sent to Mr. Kusagawa had a great impact when viewed as a single painting, but when viewed side by side, the nuances seemed different. So, there was also a part that said, 'It's similar to the original, but I'll have it fixed.'
G:
If you're watching an anime and you feel that it's like Mr. Kusagawa's painting, it means that you're addicted to Takahiko Yoshida's aim.
Hamana:
That's it.
G:
In the flow of the story of the picture, I would like to ask about the magic composition. In the first PV, the magic composition was drawn as very colorful and beautiful. This time, as a staff member, you have been assigned positions such as 'magic design,' 'texture design,' and 'magic color design.' How did you create it?
Hamana:
I had a few meetings with the staff prepared by Dean, saying, 'I want to make the magic composition look like this.'
G:
Is it a plan from the director to make it a mandala style?
Hamana:
With me and a producer named Nakata-kun, I decided, 'How about that kind of feeling?' The design itself was done by the designer. It was simpler at first, but I think it's been tested a few times to get it in its current form, with the direction in which it looks good.
G:
It's a little off from 'Sorcerous Stabber Orphen Hagure Journey', but what kind of tool does Mr. Yoshida use to write the script?
Yoshida:
After all (laughs), I use Word quite normally.
G:
What is Word! I wonder if there is a particular editor.
Yoshida:
Is it
G:
Yes, I was wondering if Mr. Yoshida might have something. In Word, do you set it up for yourself?
Yoshida:
The model of another writer was easy to use, so I will use it as it is.
(Everyone laughs)
G:
'I don't choose Kobo brush' ... Do you choose a place to work?
Yoshida:
No, I usually work only in the workplace. That's why I sometimes think 'I don't want to be in this space anymore' (laughs). However, I can't write unless I'm oppressed, or I can't concentrate unless I'm oppressed.
G:
Is there any technique I can do to meet the deadline?
Yoshida:
I will summarize my work plan about once every two weeks. 'I wonder if I can write this far today', like a study schedule (laughs)
G:
'By this day, I will write the script for the episode of that work.'
Yoshida:
If it shifts, I will correct it.
G:
It's not like 'death after passing!' (Laughs). By the way, when writing, do you have no choice but to write to your PC?
Yoshida:
It takes time to concentrate on writing. I just visited other sites (laughs). But, 'Even if you can only write 3 lines today, it's important to stay in front of your PC all the time.' At night, I sometimes go to bed with regret, saying, 'I could only write three lines today. I could only go to the third page.'
G:
What a pain of birth ... I would like to ask you more questions, but this is the last question. This time, the broadcast started in January, so the story is nearing the end, but since it is also distributed on many sites, I read this interview and became interested in the work, 'Let's see it.' I think some people will start to see it. If you have something to say to such a person, 'I want to tell you this,' please.
Yoshida:
Since Mr. Morikubo plays the role of Orphen, there is something like a 'reversal phenomenon' in which Mr. Morikubo's teacher is Mr. Namikawa and Mr. Morikubo's sister-in-law is Mr. Hikasa. I think it would be interesting if you could pay attention to such casting.
Hamana:
I think there are various 'Orphen' depending on the viewpoint. You can pay attention to the serious drama, enjoy watching Krieou and Volcan & Dochin, and enjoy the work 'Orphen' by looking at it seriously or comfortably. ..
G:
Thank you for today.
'Sorcerous Stabber Orphen Hagure Journey' is being broadcast on AT-X, BS Fuji, TOKYO MX, and WOWOW. It is also distributed on U-NEXT and other video distribution sites.
'Sorcerous Stabber Orphen Hagure Journey' Anime PV 3rd --YouTube
© 秋田禎信・草河遊也・TOブックス／魔術士オーフェンはぐれ旅製作委員会
From March 5th (Thursday) to March 17th (Tuesday), 2020, ' ' Sorcerous Stabber Orphen Hagure Journey 'POP UP SHOP in Yurakucho Marui ' will be held.
・ Correction
Since it is 'magic' that appears in Orphen, not 'magic', 'magic team' has been modified to 'magic composition'.
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