During Otakon 2024, The Beat’s Adam Westcott A chance to chat with the producers of Trigun Stampede Kiyotaka Wakiki and orange producer Watanabe Yoshihiro This follows Leviathan, the latest project co-produced by the studio. The following is a transcript of the interview, which details the studio’s goals in the Japanese animation industry, which is undergoing its own transformation and change.
ADAM WESCOTT: Today, the anime industry has produced many remakes. There is one Lucky boy Remade not long ago. one Ranma ½ MAPPA is about to be remade. not to mention magic knight reas. These works tend to focus on fidelity rather than taking adaptational liberties. But Orange produces Three gun attackWhile staying true to the spirit of the original work, major changes have been made to the story and characters. What was the studio thinking when making these changes?
Kiyotaka Waki: Myself, Toho’s Takei, and director Kenji Muto all lacked a lot. We are still building experience in each position. In the process, Takei brought Teacher Ye’s three shots to the table. His idea was “We can learn a lot from Trigun.” When adapting the manga, Muto wanted to understand how Naito handled things and how to make the show our own. Creating an original story from 0 to 1, from nothing to something, is a very intensive process. This is not easy to do. Nightow was a big inspiration to us as we went down this road.
Westcott: Part One beast starThe final season will launch at the end of this year. The development of new technologies will be used to Three gun attack Will this be carried over into the final season?
Waki: We can’t reveal too many details yet. But one of the most important things about Trigun Stampede is the experience our animators gained. The build quality and strength of the Trigun Stampede is high. It’s also a show about humans rather than animals. Incorporating this experience into the Beastar will produce a very different result than previous Beastars.
Westcott: You recently appeared in a YouTube video talking about animation No Zen Zone. What interested you about the animation in this game? Are there any examples of 3D animation outside of anime that you also find interesting?
Waki: We solved this problem based on hand-drawn CG from the perspective of Japanese animation. this No Zen Zone The team comes from the gaming world; they have never experienced Japanese anime production, but they are inspired by anime, even though they come from different sides. They end up having similar looks and moves. I think this is very interesting.
Westcott: Watanabe also talked about anime as a universal language that connects people around the world. Would you say that applies here as well?
Yoshihiro Watanabe: Yes, I think so. Anime is highly symbolic. This symbolism makes it easier for something more conceptual in human nature or human civilization to emerge. Of course, anime is often associated with Japan. But it doesn’t have to stop there. This is a global language format that we can share and start to thrive.
Westcott: In a previous panel, Watanabe, you said you worked on Supernatural: The Animation. Ishizuka Atsuko Farther than the universe Also participated in that series. Did you get the chance to work directly with her?
Watanabe: I supervised the script, but I never got through the process. But, as far as the script goes, I was a part of it.
Westcott: Was there anything that stood out to you from that show?
Watanabe: Mainly to stay true to the TV series. There were two episodes where we were allowed to be more original. Sometimes we want to be more adventurous, but the producers worry about cultural differences. That was only my third or fourth year in the industry, so I wasn’t experienced enough yet to insist that these differences were surmountable.
WESCOTT: Past Orange works such as three gun attack and beast star It’s all based on visual work. Your upcoming co-production LeviathanHowever, it is adapted from a novel. What challenges does your team face when translating non-visual work into new media?
Waki: The visuals are a roadmap of where we can go. But even if a novel has illustrations, the reader is imagining the scene in his or her mind. When we create something based on fiction, our mission is to exceed their imagination. One way we do this for Leviathan is with detailed backgrounds.
Westcott: While Orange has produced short films in the past, IDOLiSH7: BEYOND THE PERiOD is the first feature-length film produced by the studio. What new challenges do studios face making movies instead of TV?
Waki: We don’t necessarily differentiate between short or feature length in terms of animation quality or direction. We give every project our all. Having said that, what is different with IDOLiSH7 is that we have removed the storyboarding process. We wanted to achieve realism. We tear down, rather than break, the fourth wall so that the world we see on screen exists in the same world as the audience.
