'Sorcerous Stabber Orphen Hagure Journey Kimrak Hen' Interview with director Takayuki Hamana, how did the production proceed under the corona wreck?
From Wednesday, January 20, 2021, the broadcast of ' Sorcerous Stabber Orphen Hagure Journey Kimrak Edition ' will begin in sequence. This work is based on Yoshinobu Akita's light novel and is a sequel to the anime broadcast in the winter of 2020. In 2020, the new coronavirus raged around the world and had a great impact on the anime industry. We asked the staff of the work about how they made this work, which was exactly what was produced in it.
First is an interview with the director, Takayuki Hamana.
TV Anime 'Sorcerous Stabber Orphen Hagure Journey Kim Rack Edition' Official Website
GIGAZINE (G):
We interviewed Director Hamana once during the first broadcast of 'Sorcerous Stabber Orphen Hagure Journey'. The first period was broadcast from January to March 2020, and it was broadcast safely without being affected by the new coronavirus, but the production of the second period, Kimrak, was just affected. I did. What kind of impact do you have on the ground?
Director Takayuki Hamana (hereinafter referred to as Hamana):
It's a delay in dubbing. It was about 2 to 3 months longer than planned. So during that time, I was steadily advancing the work I could do. The work style of the company has changed a little and I have been working more at home, but I tried not to stop working and gradually improved the condition of the painting during the months before dubbing. went. The dubbing and the original picture are in really good condition, so I wonder if it's unfortunate.
G:
In the part of drawing, was there a part that went well thanks to the remote? Or did it actually affect the progress because there was a lot of work to be done together?
Hamana:
The meeting was done with Skype, but the drawing itself was 'hand-painted paper', and I had to send it to the process, so I had to go to pick up the paper and check it. Not all processes have shifted to digital, and since we are making animation by transcribing what we drew digitally on paper, there were some things we could do and some things we couldn't do.
G:
Did Hamana personally say, 'I made progress thanks to the remote' or, on the contrary, 'I didn't make progress because it was remote'?
Hamana:
I try to work at home as much as possible, and there may not be a part that says 'I did it at home', but thanks to the fact that I no longer need time to move to the office, I have a little time. There is a part that I could afford.
G:
Did the difference in the environment matter?
Hamana:
Hmm ... it wasn't that much. If it's a conte, you can draw with paper and pencil while you can see the settings on your PC.
G:
If you have a basic environment, it feels like you can work in a coffee shop.
Hamana:
That's true for content. However, it is difficult to 'draw a picture'. Now that I have a tablet, if you can use it, you can do it at a coffee shop, but I'm not that kind of person yet.
G:
I heard that the animation of 'Sorcerous Stabber Orphen Hagure Journey' actually proceeded on the premise that the Kimrak edition was produced from the beginning. In recent years, there are many works with only one course, but does it change the burden of producing two courses?
Hamana:
The scenario and the conte proceeded without stopping at once, but the drawing was made after a break. I was able to concentrate on the story at once, while I was able to refresh the drawing, so I think it was good to have a gap.
G:
Director Hamana has worked on multiple works of 2 or more cools, but do you have any technique that can be used to create long works?
Hamana:
No, that's not the case (laughs) Regarding this 'Sorcerous Stabber Orphen Hagure Journey', the method of making it is quite different between the first phase and the Kimrak edition. In the first period, there were many episodes of 2 to 3 episodes that were one episode, but since the story continues for a long time in the Kimrak edition, it is difficult to understand the last one unless you look at it from the beginning. It's a difficult story. When doing episodes of long-term development, the flow tends to be one pattern, but in the case of Kimrak, there are various developments, and there is time for production, so I am doing it with a fresh feeling. I will.
G:
Is it a feeling that the coat color is different as a work between the first period and the Kimrak edition?
Hamana:
I agree. In the first period, I recollected it as a 'pre-edition', but it was difficult to include a one-shot story in the Kimrak edition. As for my feelings, I wanted to include the stories of my friends. However, as Orphen, there are some parts that have become hard, but there are still some parts that are unique to Orphen, so I would like you to expect various 'Orphen'.
G:
In this Kimrak edition, I think that Sarua, who appeared in the first term 'Gather in my forest and wolf', will also reappear. What kind of policy did you make regarding how to show Sarua during the first production?
Hamana:
If you draw it in too much detail, it will be troublesome later, so I said, 'Make it a little fluffy.' The scene of 'Gather in my forest and the wolf' is quite important, so people who have never seen it may not understand it, but later I will add that 'this is what happened here.'
G:
When you look at the Kimrak edition, you can feel that the description of the first period is alive.
Hamana:
I agree. When I look at it many times, I often say, 'That was the case.'
G:
The director said that he wanted to read the original novel and tell the story of the first Azary, but when he proceeded to the production of Kim Luck, there were characters that felt good again and scenes that were good to try. Did you?
Hamana:
Before I started, I had a lot of serious thoughts, but as I made it, the fun of the other parts came out. At first, there was a part about the character of Kuriou, 'How should I catch it?', But it's quite fun after I can understand the aspect of 'that child is such a child'. You're doing it. Krieou is at her own pace even in serious places, and it is also her characteristic that it breaks the air of the place, which works well for the main story. I wonder if they are balancing where it would be darker and heavier without Krieou, Volcan, Dochin, and Magic.
G:
surely.
Hamana:
In the Kimrak edition, Sarua has a very standing character and is played by veteran Yoshiyuki Shimozuma, so I think that there will be many scenes where there is a presence even if there are few lines. Also, a character called Raniot will appear on the way, which is also quite impressive. If you look at it once, it's probably an unforgettable character.
G:
The first term was also quite impressive, but ...
Hamana:
I think that the animation has a different impact strength from the first period, and the weight and world view in Kimrak, which is different from the fang tower. There are many characters with habits (laughs), but there are various elements, so I think that you can enjoy it with new characters.
G:
This time, when I heard the story, I reviewed it again throughout the first period, but the Orphen party was terribly noisy, but the story itself was a serious story following Azary. In the Kimrak edition, the color is more serious.
Hamana:
Yes. The whole story is heavy, and the mystery of the world view, the mystery of Kimrak, and the mystery of history that I had never known before will be unraveled. However, although there are elements like the historical objects of the taiga, it doesn't feel like 'it has become an orphen with a completely different tendency' because it progresses around the main character, orphen. There is a part that was not solved in the first period was a hint to the Kimrak edition, so I think it will be fun if you recall that part.
G:
I'm looking forward to finally revealing the mysterious part. By the way, is there any part of the production of Kim Luck that says 'I'm focusing on this place'?
Hamana:
The relationship between Orphen, Azary, and Childman remains the same in the Kimrak edition. I'm making it because I want to bring out the fact that Orphen is not only flashing magic, but also dragging something heavy in his heart.
G:
I see, thank you.
--- Following the interview, I was shown around the desk of the company.
G:
It's like this when you're working at a company.
Hamana:
I'm already remote, and I've brought back all my PCs, so it's almost like that.
G:
Some people display figures of their works around the desk of the company, but wasn't Director Hamana originally putting that kind of thing?
Hamana:
Well, all the materials are at home. You can check it if you have the content and settings. When I go back to the book and check it, when there is an opening or something that needs to be newly created, the rest is to look back on 'How was this in the Kimrak edition?' However, Mr. Nakata, the producer, is more familiar with that area (laughs).
G:
It's quicker to ask the producer Nakata (laughs) Just because a really good cut is coming ... I have the impression that there are many cool pictures when deciding on Orphen.
Hamana:
In the Kimrak edition, it is a nice orphen that is different from the first period. My impression is that it is a little more mature than the first period. There may be some content, but as it gets harder, the number of broken faces is reduced, and I feel that there are many deeply emotional cuts.
G:
So that's it. I am looking forward to Orphen, which is different from the first period. Thank you for your time in a difficult situation today.
Interviews with the staff of 'Sorcerous Stabber Orphen Hagure Journey Kimrak Edition' will continue.
'Sorcerous Stabber Orphen Hagure Journey Kimrak Hen' Anime PV 1st --YouTube
[to be continued]
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