'Godzilla SP [Singular Point]' series composition, interview with Enjoto, how did you create Godzilla's first 13-episode structure?
The completely new TV animation ' Godzilla SP [Cingura Point] ' of the popular monster 'Godzilla' will be distributed on Netflix from March 2021 and will start broadcasting from April 2021. The 'Godzilla' series has been produced as a movie of about 2 hours so far, and it is the first time in the long history of the series that it will be broadcast in the form of TV animation of 30 minutes per episode x 13 episodes. We asked Akutagawa Prize-winning author
In addition, there will be some remarks that include some of the content up to around episode 3.
Completely new TV anime series “Godzilla Singular Point” official website
https://godzilla-sp.jp/
GIGAZINE (hereinafter referred to as G):
I think Mr. Enjo receives requests for a variety of jobs. What made you decide to do 'Godzilla SP [Singular Point]' out of all of them?
Mr. Enjo Tower (hereinafter referred to as Enjo):
As an artist's work takes quite a bit of time, it's not like I get so many requests. I've only worked on anime twice so far, but they come suddenly. This time, Mr. Minami (Masahiko), the president of Bonds, who is producing, called me, 'Mr. Enjo, how about Godzilla?' It started from where.
G:
I see.
Enjo:
``I heard something strange again'' (lol)
G:
(lol)
Enjo:
So when I went to listen to the story, I was surrounded by a lot of people, and I was in a state of 'I can't escape anymore?' I felt like I had already been summoned and said, ``I have to do it, right?'' (lol)
G:
If that's the case, was your first request, ``Would you be willing to do the series composition and script?''?
Enjo:
No, not at all. The question was, ``Would you be willing to do some science fiction research?'' Mr. Takahashi's (director
G:
Should be.
Enjo:
However, since there was no one to think about the settings, I had no choice but to think about it, so I started from 'Godzilla, what are you eating?'
G:
(lol)
Enjo:
That's where I start from, ``Okay, what should I do?'' There are a lot of troublesome points, such as whether they give birth to children, whether they are a herd, or who Minilla (*) is.
*Note: Appeared in the 8th series, '
G:
Yes, there is (lol)
Enjo:
Since such places will be involved with the story, it was decided to do the script. In writing the script, the big challenge was the structure of the anime, which consisted of 13 episodes in 30 minutes. If it's 2 hours, the setting can be blown off quite a bit. Even in ' Shin Godzilla ' (2016), a scientist came out, but he said something that he didn't understand and was dismissed as 'useless!' Oh, do it somehow. But with 13 episodes, everyone gets sane at some point. 'Shin Godzilla' was developed only in Japan, but with 13 episodes it seems that it can not be done only in Japan. Don't you wonder what happens when the camera takes a picture of the earth?
G:
Become.
Enjo:
So, while I was doing difficult things to figure out what level to deal with, this happened. Even for Toho, 13 episodes is the first attempt, so I didn't understand the assembly at all. Furthermore, as for 'How many mobs can run?', if it's a movie, I'll think about how many cast members to call, so I'll be able to answer right away, but in anime, I don't really know.
G:
I see.
Enjo:
If you can't use mobs, is it okay to say that when a monster appears, everyone in the town will run and run away and fall? It's like Tetsuya Takeda in '
G:
(Laughs) This is a bit of a question, but when Mr. Enjoji was interviewed by Tohoku University Hagiyukai in 2017, he said, 'I often think of scenes where novelists run away from editors when they are pressed for deadlines. I'm a person who protects, so I don't think so at all (laughs)', but do you try to protect yourself well?
Enjo:
I didn't protect it at all this time. It's not a matter of not protecting it (laughs)
G:
What do you mean it's not a place?
Enjo:
Anyway, nothing was decided. I couldn't set a reality level that matched episode 13... Since there is no format for 13 episodes, it took a lot of time to decide. Mr. Orange, who was in charge of 3D, said, ``I can't make it in time!'' I think it was really hard.
G:
It was really hard, wasn't it? This time, from
Enjo:
First of all, I made it a major premise that it is 'entertainment'. However, when setting the reality level, I settled on the fact that it would have to be set in a relatively realistic place. Since it's an animation, when I think about how realistic the character's movements are, I think it's actually difficult to do this movement. If you approach it too realistically, you will die if you fight radon. That's something only anime can do.
G:
(lol)
Enjo:
Sci-fi writers are not there to predict the future, but they basically live by blowing tales, so this work is a story of ``blowing a big tale based on Godzilla.'' Godzilla will come out properly. At the punch line, ``Godzilla itself was a hoax'', as soon as the consultation started, it was probably nothing.
G:
I hear that Mr. Enjo is a writer who does not write long stories. In an interview that was published in the new book JP around the time Mojiuzu was published, when asked, 'Most of Enjo's works have been short stories throughout his career. Do you have any desire to write feature films?' (laughs) I like short stories, but I also can't write long stories well.First of all, it can't be a feature story unless the characters stand firmly, but the characters in my novels are usually ○ or △. It's symbolic, and there aren't many humans in the first place.' Does the script of this work feel like a 'short story' from Mr. Enjo? Or is it something more different?
Enjo:
Each episode must have a punchline in 30 minutes, so it can be structured as a series of short stories. It was just a matter of how to make it. ...13 episodes is difficult. Even if it's a monster, if it's an Ultra monster, one monster may appear in each episode and be defeated by Ultraman. The Apostles in Neon Genesis Evangelion (1995) are also like that. But in ``Godzilla,'' for example, Rodan appears and is defeated in the first episode, and Anguirus appears and is defeated in the second episode, and you think, ``This isn't it!''
G:
Certainly, that is something different (lol)
Enjo:
In that case, you will need a full-length concept. Since there are 13 episodes, we needed a middle-length concept for the beginning, middle, and end, and of course we also needed a visual logic...Director Takahashi and I had a tug-of-war while controlling the overall flow. I felt like I was deciding as I went along. If there was anything unique about it, it was the strong link between the setting and the story, so we both started thinking, ``The setting makes sense, but it doesn't make sense for the picture.'' There's no point in making settings that don't look good.
G:
Because it's anime.
Enjo:
Normally, verification should be completed before starting the scenario. It's like, ``Because I made these settings, this spaceship will fly according to this logic.'' However, there is the issue of whether or not you can fix it if you find out that it wasn't very good when it came time to draw it. Because historical research is intertwined with historical research, there are times when only minor adjustments are needed, and times when the entire process needs to be replaced. In this work, I adjusted it in terms of 'bones'... I don't know if that was a good thing or a bad thing...the people in question don't understand many things anymore (lol)
G:
(lol)
Enjo:
You just have to see this.
G:
In the same interview with the new publication JP as before, he talked about how to create the waka poem used in the short story ``Kana'' in ``Moji Uzu'', saying, ``I pulled out Ki Tsurayuki's poetry collection and put it on my computer, and wrote ``Kana.'' Find a song that contains the letters ``mu'', ``bu'', ``ri'', and ``a'', then look for ``ba'', ``ku'', ``ha'', and ``tsu'', and so on as you compose your song. 'I can't do that without a simple script. I also use an app, look it up in a dictionary, and write code as I create it.' What language do you choose when creating a script like this?
Enjo:
I choose what suits my purpose. Even in 'Godzilla SP [Singular Point]', there are things like the four-dimensional cube in the OP that are turned in '
G:
Are there any walls?
Enjo:
In the end, it's just faster for me to use Ruby , Python , and Processing. For example, during a meeting, let's say someone says, ``I'd like to display logs on a display.'' We're talking about just letting it flow, but for that we need the actual logs, don't we? If it were a novel, it would be enough to just say “the logs flowed” (lol)
G:
(lol)
Enjo:
The question is whether the 'logs to be streamed' can be from some random source. 'Can I use Nginx logs?' If that happens, someone will have to create something that looks like a log. Naturally, everyone was silent, so I said, ``Okay, I'll create it in Ruby in an hour.'' I don't have a deep relationship with Ruby, but I'm used to her. Just because you create something doesn't mean it becomes a painting.
G:
Isn't it?
Enjo:
There is an issue with the size of the display on which the logs are streamed, and it becomes necessary to interact with the layout. In such cases, Ruby is the program that I can use instantly. But when 3D comes in, we have no choice but to rely on Processing. I think, ``I can't do all this with Unity...'' but I don't think I can integrate it because of the learning costs.
G:
I see, that's about it...
Enjo:
I write quite a lot. For example, I also wrote for newspapers.
G:
newspaper.
Enjo:
When a newspaper article appears in the news, who is the author of that newspaper? Nowadays, the resolution is so high that I can sometimes read it. There is no way I can say, ``Please don't stand close to the screen and read it.'' But that doesn't mean I won't write anything. There are quite a lot of characters on the front page of a newspaper. I was like, ``This is quite expensive for a novel manuscript.''
G:
(lol)
Enjo:
You can't just use the published information from a newspaper company. As expected, I didn't create the newspaper articles using scripts, but I did create and use quite a few scripts in this work. However, since I make it in a hurry, I can't dig it up later (lol)
G:
What a waste (lol)
Enjo:
If I can't find it, I'll have to write it again. So I sometimes have trouble solving puzzles that I've created myself.
G:
This game features AI that is more advanced than the iPhone's Siri or Amazon's Alexa. Mr. Enjo, do you actually use assistant-type apps that give you verbal instructions?
Enjo:
I don't use it. I have Alexa, but it just tells me, ``An Amazon courier is coming today.'' 'Noisy, I've already received that!'
G:
(lol)
Enjo:
The story is set in 2030, so I'd like something like that to exist. This is not so much a matter of my own feelings, but also a matter of theatrical convenience, as I don't have enough time. I need them to dance at the edge of the screen. Something like ``I want it to dance, so it's an AI.'' That's unique to anime.
G:
In a 2010 interview with ``WEB Book Magazine'' titled ``Writer's Reading Path,'' he talked about the writing pace of ``Self-Reference ENGINE,'' saying, ``I write a story in two hours in the morning and two hours in the evening, then go to bed and do it the next day.'' In the morning, I decided to write about this topic today.It was simply a matter of how to find the time to work.I did think about getting the overall shape in order.Since then, that pace has become a habit. Is this the same pace even now?
Enjo:
Basically the same. I'm not the type to write all the time, and I get bored after about two hours. Lately it's been about an hour and a half. At that time, I was doing other work, so it was 7:00 to 9:00 in the morning. That's what makes me feel the best, and I was able to do that because I was single at the time, but now I just don't have the time.
G:
Is it too late now?
Enjo:
I feel like I can't take time in the morning and night, and it's daytime.
G:
In the same interview, he also touched on his writing environment: ``I can't work from home. I can't write unless I'm at a coffee shop or something like that. I fall asleep when I'm at home.'' ``Basically, I live in Shibuya all the time.'' So I move around and change places every two hours.' Do you feel like you're hanging around on your laptop like a nomad?
Enjo:
That's basically it. When I used to smoke, my only choice was Doutor, but now that I've stopped smoking, I can go to Starbucks.
G:
Are you using a Windows machine?
Enjo:
It's a Mac. Since we live in a UNIX culture, PowerShell says, ``Keep up the good work.''
G:
Has your writing environment changed over time? Or do you feel like you're just continuing the settings you've established in the past?
Enjo:
I write in Word all the time. It's controlled by Microsoft...and eventually they go back. It's a de facto standard that editors also use, so it can't be helped, and if there's an editor that can do a lot of things with vertical writing, it's kind of like Word. Essays can be written horizontally, but novels are written vertically. This time it's a scenario, but a scenario has a format. That's... I don't like it.
G:
I don’t like it (lol)
Enjo:
Scenarios have a very unpleasant form of indentation. There are things like lowering the lines of the person who is speaking but not lowering the lines of the person who is writing, and everyone is working really hard on Word to make adjustments. When I asked, 'Does it take time to adjust the indentation?', he said, 'It takes a lot.' I couldn't keep up with that, so I resorted to a strategy of using text-based markdown, compiling it, writing CSS, opening it in a browser, and creating a PDF.
G:
Wow.
Enjo:
Apparently it doesn't necessarily have to be in that format, but if you do that, someone at the company will have to format it when they turn it into a script. Someone somewhere in the company is just adjusting the indentation.
G:
Oh my God.
Enjo:
But isn't there a problem that you can't copy and paste vertically written PDF? That's why I send PDF and HTML together. It's 'very troublesome' and I only buy frustration (laughs)
G:
When you work at a coffee shop, you probably order something, but are there any fixed orders? Or do you choose wisely?
Enjo:
At Doutor it was iced tea, but at Starbucks it was a Starbucks latte. I want it to have milk in it because it's going to break my stomach. I can't keep my body from today's coffee alone (laughs)
G:
I see (lol). In an earlier interview, he talked about what happened after ``Of the Baseball'' was nominated for the Akutagawa Prize , saying, ``After that, I started getting a lot of work, and I got busy.Maybe I could make a living.'' I thought, ``If I keep going like this, I'm going to die,'' and it really got out of control, and after a little over a year after I started working, I thought, ``If I keep going like this, I'm going to die, so I'm quitting,'' and just left.'' There was a story. It is reasonable to say 'I will die if it stays like this', but how busy were you?
Enjo:
Maybe you didn't have time to sleep. I used to work from 9:00 to 17:00 and go home, but if I write for two hours each morning and night, I don't have enough time to sleep anymore. Some people may get angry that I can afford such a thing, but it was impossible for me. It's difficult to combine two jobs: writing and thinking about the company.
G:
Mr. Enjo has published a reading meter , and the number of books he has read is over 4000. Since the registration was in October 2008, in terms of pace, it means more than one book per day on average ... ....
Enjo:
It's not like that because it includes manga. If you're a movie lover, there's something like 'I've made it to two today'. That's how it is. People who write book reviews may read about 30 to 50 books a month, but I only read about 200 books a year. It's also a job pattern that you have to read to some extent.
G:
Why did you decide to register with the reading meter and publish the information?
Enjo:
...why? But it's convenient. When writing a book review, you can write whatever you like, like, ``What was the most interesting thing I read recently?'' When asked, ``Please give me the best of the year,'' I ask, ``What did you read this year?'' I looked it up. Even if you decide to write notes in your notebook, you won't be able to write them down. It's the same as ``I fall asleep when I'm at home'' when writing, and if I don't have that kind of routine, I won't be able to continue.
G:
Do you prefer to make time to read all at once rather than reading a little bit each day?
Enjo:
A lot has changed since I started reading on Kindle. I read while sleeping.
G:
How do you decide what books to read? Are there any standards?
Enjo:
I like reading things that interest me, and I also like reading things that are quoted in books, so there is a connection between them. There are also things to read as materials.
G:
Do you often watch anime and video works?
Enjo:
Isn't it the one who doesn't see it? In particular, I haven't seen many movies in the last 10 years. People ask me, 'How did you like TENET (2020)?' and I say, 'Sorry, I haven't seen it!' I watch some anime, but I can't really say I watch it that much.
G:
Are you the one who watched it in the past?
Enjo:
Hmm, what do you think? In the past, anime was viewed in a more relaxed manner. There's something like, ``I haven't watched Gundam, but I can talk.'' This may be due to the small number of pieces. Nowadays, when I say ``I'm watching,'' I get the impression that I need to watch more closely and talk properly.
G:
When this 'Godzilla' story came up this time, did you feel like you had some understanding of it?
Enjo:
Well, it's not something I don't know at all, but I think I understand about half of it. When someone suddenly mentions ``Baragon,'' he says, ``Hmm!?'' But not ``What is King Ghidorah?'' He says he can understand up to Mogera.
G:
I feel like I'm good enough (laughs)
Enjo:
``Manda? I understand, but I don't know who he fought against,'' or Gamera, ``Legion? We'll do our best,'' and so on, and this is common knowledge. Science fiction movies like ``The Terminator'' and ``Back to the Future'' are just fine, right?
G:
I think that ``Godzilla'' was consistent with past works, or rather, the part that struck a balance was also a good fit. How did you decide to ``keep this as is'' or ``revamp this and go with something new''?
Enjo:
It was difficult, but there were requests from the story and there was a set number of models that could be produced...
G:
(laughs) There are certain restrictions.
Enjo:
If it's okay to put out a lot of monsters of about 10 polygons, I'll put them out, but that's not the case. Monsters have the required quality and the required number of polygons.
G:
(lol)
Enjo:
While it is a story based on reality to some extent, it is difficult to put out a minila when it is said that SF setting is also involved. There are many difficult points, such as whether Minilla is a child or not, and whether Minilla and Junior are different.
G:
Hmm, that's difficult.
Enjo:
About radon, we think that there are various thoughts of person who saw. But since it's a 3D model, I'll give you the numbers. If you think about who in the cast can fly a lot, it might be Radon. Anguirus is running a lot, so I can make a picture as an animation, but...
G:
It's surreal.
Enjo:
I don't want your laughter.
G:
That's what happens.
Enjo:
As far as fighting people, the scale must be small to some extent. It's a monster story, but without a human drama, we can't have 13 episodes. Anyway, the biggest challenge was to respect the fact that it was an animation, even though it consisted of 13 episodes.
Mei Jinno (voice: Yume Miyamoto) is an eccentric graduate student who gets involved in the battle with 'Godzilla' after receiving an investigation request from 'Misakioku'.
Yun Arikawa (voice: Shoya Ishige), an engineer who works for a general store in town, gets involved in the battle with 'Godzilla' after investigating an empty Western-style building.
G:
I see.
Enjo:
Director Takahashi's commitment was whether or not it was okay to say 'Oh, it's a monster' when a monster appeared. If you think about it realistically, you can't say it, but if it's a monster movie, you can say it. There was some debate as to which one to pick, but Mr. Takahashi said he would say, 'Dinosaur?' In that case, it would be more natural for the visuals to focus on dinosaurs for the time being.
G:
I see, considering the level of reality set.
Enjo:
If you think about it that way, you can create a world that looks like a Quetzalcoatlus, and when you look at it at first glance, you think, ``Didn't a dinosaur appear?''
Enjo:
Regarding the design of this monster, it is said that it resembles a dinosaur and 'does whatever it wants because there is no human inside,' but there really is no one inside, and when it first appears, ' That's because we set a level of reality that wouldn't make you think, ``Oh, it's a monster.''
G:
Listening to him talk, I get the feeling that it was really difficult to compose the piece. Before deciding how to go about it in the end, everything was difficult from the beginning.
Enjo:
First of all, we had to set the level of reality, and we couldn't decide which monsters would appear at what timing, and we couldn't decide what the big punch line would be.
G:
Exactly, nothing is decided (laughs)
Enjo:
The final big reversal... ``I'm sure it will turn around, right?'' That's the way we talked about it. In terms of the play, there should be a big reversal, but the way the reversal has not been decided yet. But there was no way it wouldn't turn around... and so on. I really had to think about a lot of things for episode 13.
G:
Is 13 episodes long?
Enjo:
First of all, there is no precedent for Godzilla, where the story cuts off once every 30 minutes, gets a little punch line, and then continues again after a week. If it's two hours long, there are many precedents, so I know how to create a mountain, but with Godzilla episode 13, I don't even know how to create a mountain or how to present Godzilla in the first place. As a producer at Toho, I want Godzilla to come out as soon as possible, but we don't want to release it too much.
G:
(lol)
Enjo:
There was a plan for Godzilla to appear in the first episode, but it would be a pain. After all, since it is a work called 'Godzilla', Godzilla should appear, but if he appears from the first episode, it will not last until the 13th episode. At least it has to be a flashback scene...
G:
Actually, I watched it halfway through this time, and I was like, ``I see, I see.''
Regarding Toho's opinion that they wanted Godzilla to be released as soon as possible, were there any requests for ``I want it to be done like this'' or ``I don't want it to be done like this'' in this work?
Enjo:
Basically, there aren't any, but there are a lot of them.
G:
No, but there is (laughs)
Enjo:
Sometimes you don't even bother to ask. If we were just pursuing entertainment and thinking about rebooting Godzilla and delivering it to a new audience, it could have been something like 'Kaiju No. 8.' It suddenly starts with disposing of Godzilla's corpse. But that doesn't need to be asked, right? I heard that there was some discussion during Shin Godzilla, for example, ``Is it okay for Godzilla to transform?''
G:
(lol)
Enjo:
That's why there were talks like, ``Please don't eat people,'' ``It's okay to attack other monsters, but please let us know if you eat them,'' and ``I don't want Godzilla to appear in the era before the first generation.'' Godzilla is, so to speak, an idol for tiger cubs, so of course there are times when people say things like, ``My child won't appear on those kinds of variety shows.'' From the creator's point of view, we think about things like ``Is it okay to have two heads?'' ``Is it okay for him to be in a zombie state?'' ``Is it okay for him to grow wings and fly?'' But I still want Godzilla to be unique. . That's why, if it's okay to have multiple Godzillas, I'd consider sending out a swarm of Godzillas. If you want to depict a world crisis, the more the better. If there is only one Godzilla, you could put it in a large area and build a fence to create an attraction like a geyser that spews out heat rays from
G:
(lol)
Enjo:
That's the only way to run away even if you're being chased. But since they are heading straight for the capital, we have to prevent them by saying, ``We won't let them do that.''
G:
surely.
Enjo:
The question was, ``Which parts should be destroyed?'' If you come to the city too often, modeling will be difficult, but if you just go wild in the Tottori Sand Dunes, modeling may be easy, but you won't be allowed to do it. For example, if we were to demolish Osaka Castle, we would have to build Osaka Castle, so I think it would be better not to do that.
G:
That's true.
Enjo:
We were told that any story would be fine, so we had an idea to go around Japan and destroy things like we did at the opening for Sazae-san. It started from a place where anything was OK. If it's Godzilla, you might say, ``Please come to my hometown and destroy it.'' On the other hand, there are also things that you should not destroy. When that happens, there are times when we can't expand on ``What is Godzilla?'' and we have to negotiate with the producers...
G:
Listening to the stories like this, it's difficult, but it's really interesting. Mr. Enjo, when you actually heard such a story, was it ``as expected''? Or was it a surprise?
Enjo:
Some parts were as expected, and some were surprising. I thought I'd like to make it in some kind of strange shape. I don't think I'd like the two necks though (lol)
G:
(lol)
Enjo:
It was quite difficult to figure out how to reconcile the fact that it is a creature that is both a metaphor and a mythical creature. I've always been doing things like that.
G:
Is it like every week now?
Enjo:
About once every two weeks. That's exactly what I was doing before
G:
Really!
Enjo:
They were running parallel. All the while, the story goes like this. The producer, the director, Mr. Bonds, Mr. Orange, and I were all gathered in this Toho conference room.
G:
Although this is a departure from the main story of Godzilla, in an interview at Kenbunden Seminar, he said, ``Sometimes I think, ``Why don't I use an illustrator to write my novels?'' That way, I feel like it's a little closer to poetry. I'm not saying that, but just as the way you write and what appears in it changes little by little depending on the writing tool you use, such as a word processor, fountain pen, or typewriter, I'm thinking that something will change when you write with an illustrator. Even if it's text data, I feel like it would be different if it was written as image data.'' Was this an image of writing it as a vector path?
Enjo:
Why use Illustrator instead of a tablet or Apple Pencil? I wonder why (lol). A text box is fine, but if you were told to write a novel using a text box, you'd think, ``Then, what should I do?'' It would be difficult to change lines. The box grows every time you do it. It could be a novel about growing up. That's about it. I always say that. I was like, 'Why don't we just write it with a 3D printer?' (laughs). It's like it's stacked and comes out from the bottom. No, I used illustrator quite a lot this time, and Graphviz .
G:
If it's Graphviz, is it like making a plot?
Enjo:
I thought I could use it for a diagram that shows how this and this are connected, but it didn't work very well. It's easy to draw, but I'm the only one who understands. I thought it would be possible to figure out who would be in charge of organizing the flow of people's movements and where and what monsters would do, but nothing could be done.
G:
How did you sort it out in the end?
Enjo:
The director and Mr. Koyanagi, who was initially involved in the military research, did their best. The good thing about it is that the two of them made the decision.
G:
In an interview with Shinkan JP, he said, ``If I were to write a novel for the web or an e-book, I'd never seriously thought about what I would write, but I would like to write a novel that would only be possible if I could write a short programming code.'' I've been thinking about what I'd like to write for a while.It could be the ``Hyakuman Monogatari'' I mentioned earlier, but I don't need to show the ``Hyakuman Monogatari'' itself, and I'd rather write the code that generates ``My Million Stories.'' It can be a novel. If code can be a novel, it wouldn't be interesting to print it out on paper. It would be more interesting to post it on Github.'' Is the novel as code an image of an 'executable novel'?
Enjo:
In terms of ``a million stories'', it's a structure that creates a story. With Kindle, there are no limits on size or number of pages, so even a one-million-page novel is possible. It's just that humans can't write it, so it's just a matter of generating a 'million stories'. For example, ghost stories have the same structure, so there are 1 million stories with different place names. It's simple code, isn't it? I think it's okay to do that kind of performance when thinking about e-books. I don't really understand the meaning that e-books can be copied but have a price. It doesn't matter if a poet sells one poem for 1 million yen, it doesn't matter if a 'million stories' sells for 5 yen, or if the code that generates that story is published on GitHub. . I feel like someone should think about expanding the definition of literature and stories in that direction. It would also be easier if it was just machine generated (lol)
G:
(lol)
Enjo:
I think it would be great to have a language that allows novels to be compiled and executed as program code. I don't really have any ideas about what to do. Novels often have a main character and the story is moving. ...That sounds like a crazy statement.
G:
No no (lol)
Enjo:
'Is it an object? Are characters instances?' I didn't do anything big. Move, talk, change scenes. I don't understand why it's that complicated. Whether or not the novel I created is interesting is a different story (lol). There are quite a few people who try to automatically generate novels, but I feel like their approach is lacking, and I'm wondering if there's a better way. I think it's the overall framework. There are things like ``when, where, who did what,'' but I think there's more to it than this, a thought experiment.
G:
As I've been asking about various things, I get the impression that Mr. Enjo is always thinking about expanding the story. Is there a reason for that?
Enjo:
My motivation is to want to do it for no reason, but for example, ``No one is composing waka anymore.'' Although there is no empirical research, I believe that novels have changed as writing instruments have changed. At first, the word was ``Don't tell lies,'' so the birth of novels was surprisingly slow. But once things like printing started, people couldn't say 'no' and it spread, and now that anyone can write using a PC or mobile phone, what is written is full of lies. I've always been interested in how what is written changes depending on the information environment, and how the stories that are accepted also change.
G:
method.
Enjo:
Naturally, in that sense, I think that whether it's animation or special effects, there is something that can be conveyed through a story that suits each format. Writing with ink on Japanese paper reached its peak around the Heian period and declined, but the PCs that have appeared in recent decades have not reached their full potential and feel like they are being left behind. I feel like I can still do more things, and create more interesting things.
G:
HM.
Enjo:
In that position, it is natural for animation to serve the illustrations and give them the highest priority, so the techniques of avant-garde novels do not explode. Since it's an anime, animation is important. In that sense, there is no need to worry about 'Godzilla SP [Singular Point]'. It should be okay.... no…….
G:
(lol)
Enjo:
The reason I'm playing with letters is because I'm writing a novel, so I'm playing with the potential of letters, and I don't touch pictures, so I hope I can think about it in a way that respects that as much as possible. This is the basics, so don't worry.
G:
I see. I hope you will enjoy the 13th episode of ``Godzilla SP [Singular Point]'', which has a carefully planned structure. Thank you for today.
Mr. Enjo agreed to an interview on the jacket for the disaster.
'Godzilla SP [Cingura Point]' is broadcast every Thursday from 22:30 on TOKYO MX, KBS Kyoto, BS11, and on Sun TV from 24:00. Additionally, Netflix broadcasts one episode ahead of the TV broadcast every Thursday.
TV animation 'Godzilla SP [Cingura Point]' 3rd PV / OP theme: BiSH 'in case ...' / Start broadcasting on Thursday, April 1 TOKYO MX and others - YouTube
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