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Interview with the web animation "Aihime MEGOHIME"

投稿日:

Did you know about the web animation "Aihime MEGOHIME", which is a collaboration between Miharu Town, Fukushima Prefecture, Fukushima Gaina and Gaina? This work was created as a commemorative project for the 450th anniversary of Masamune Date's MasamuroAihime's birth, and it is a unique work in which an AI imitating the Sengoku warlords operated by beautiful girls fights fiercely in Miharu Town. . Currently up to the second episode is released on YouTube.

Of note among the staff members with gorgeous members, it is noteworthy that the base idea created by Yoshiyuki Sadamoto in Gaina's work was directed by Mitsuo Fukuda, known for `` Mobile Suit Gundam SEED '' and `` New Century GPX Cyber ​​Formula '' It's a fascinating collaboration to create a work. This time, we talked to producers Yoshinobu Asao, directors of GAINA and Fukushima GAINA Co., Ltd., the director of Mitsuo Fukuda, and the associate producer of Furusato Naotake, about the story of Aihime MEGOHIME.

 

 

Until top creators gather

監督 Speaking of Director Fukuda and Furusato, they are allied friends from “New Century GPX Cyber ​​Formula” and “GEAR Warrior Dendo”, and I think many people image Sunrise. Can you tell us how this group was realized in Gaina's work this time?

 

Fukushima Gainax, the predecessor of Asao Gaina, was born in December 2015 as an independent form of Gainax. As a policy at that time, I wanted to try robot animation for children, a genre that had not been done by Gainax until now. However, I didn't have the know-how, so I consulted with Mr. Kenji Uchida, then president of Sunrise, and he connected with Furusato. When Mr. Furusato joined the team and was working on a plan, Mr. Miharucho, where Fukushima Gainax had a base, talked about what he could do with the motif of `` Aihime '', Masamune Date's regular room. Whats

 

Yoshinobu Asao Producer

 

You heard that Yoshiyuki Sadamoto was in charge of the original part of the work.

 

Mr. Asao Sadamoto was in charge of character design when he produced a commercial for Toho Bank in Fukushima. Because of that, I was asked if I could ask Sadamoto-san.

 

The original draft of the story with Furusato was Sadamoto-san, and for one episode, Sadamoto-san drew many image boards. Mr. Fukuda has finished the scenario and storyboard.

 

Mr. Furusato introduced Fukuda's director to Mr. Asao Sadamoto because he wanted a new color in his work. Mr. Fukuda made quite a lot of ideas and colors of Mr. Sadamoto's original drafts.

 

Fukuda: That's the job. I wasn't particularly conscious, but it would have been nice if the color had come out. Because I simply directed what was required of the work.

 

Director Mitsuo Fukuda

 

── Can you tell us what the original idea of ​​Sadamoto was like?

 

Asao than initially rather easy to understand the flow of the story work, was the feeling that I want to make a long work elements digest imagery packed with of. What was raised in the first concept is exactly the content of the first episode. Fukuda cooked the battle scene in the latter half of Episode 1 in response to Sadamoto's request to see what he had never done before.

 

で は It would have been difficult to convert a dense plot into a 10-minute piece.

 

Fukuda There was a part about how to summarize it in 10 minutes, but as we proceeded while listening to Mr. Sadamoto's opinion, it was easy to not have to make all the choices of choice.

 

で In the ending of the first episode, I thought it was very good to show a picture of the time that Nene spent with her as a child, so that she could understand the reason for Nene's attachment on a limited scale.

 

You left Fukuda ending to Sadamoto. Sadamoto is all from Conte.

 

Furusato including the young cute situations such as background settings from the character design of the time, it is all Sadamoto's drawing of. Sadamoto's original paintings are valuable because they have been in a long time.

 

I think Fukuda ending has a lot of Sadamoto's commitment. Sadamoto was actually trying to move that whole scene, but my job was to convince me, "Oh, that's it! It's impossible!"

 

Furusato Naotake Associate Producer

 

To have people of Miharu-cho enjoy

PV PV of “Aihime MEGOHIME” was produced before the main animation was produced. Looking at the PV, the concept is quite different from animation, such as a scene where Aihime built on a virtual space game system.

 

Asao's first promotional video was based on the worldview that Miharu-cho thought even before Sadamoto-san entered.

 

 

──Is there anybody in Miharu-cho who likes such content?

 

Asao (the person in charge of Miharu Town) loves anime. Aihime is from Miharu-cho, but she lives only as a child. So how do you make a point of contact between Aihime and Miharu who grew up around the age of high school students in their late teens? And if possible, I want to show the modern Miharu town in the video. You used a game as an interface as a method to draw the love princess of that age and connect it to the present.

 

──In addition, in the main part of the anime, warriors' wives and women from Sengoku are on the front as motifs. The love-hate drama of the fighting girls seems to be the homework of Furusato and Fukuda.

 

I 'm not good at Fukuda (laughs). I don't make "Aimei MEGOHIME" as a moe animation.

 

Furusato : It's just a coincidence, it's a strange combination. After making Sunrise era "New Century GPX Cyber ​​Formula" and "GEAR Senshi Dendo" with Director Fukuda, I worked on (producer) for children up to "S sortie! Machine Robo Rescue", and Mr. Fukuda said " Mobile Suit Gundam SEED ". At that time, I thought, "What is the work I want to do?" There are already a lot of robots at Sunrise, some action like Cowboy Bebop. So, as an “unprecedented thing,” we created “Moi-HiME” and “Mai-Oto HiME,” which are motivational but burning works where beautiful girls fight. The flow of Studio 8 will lead to “Love Live!” Created by a junior producer.

 

Asao This work has a lily element, but I think this line was actually something Sadamoto wanted to do. For me, Furusato-san, who is good at that genre, was really nice (laughs).

 

Furusato: This time, the lily elements that Sadamoto wanted to do (?) And the way we get together are really coincidental (laughs). Actually, when I had a meeting with Sadamoto, I thought that I was a creator with a bone science fiction and taiga drama-like thinking that was different from the current trend, and I loved that direction, so I was very sympathetic.

 

 

タ ー ゲ ッ ト Which target are you conscious of as a work?

 

Fukuda: Since this film will be screened at a public hall in the town, everyone from grandpa to children must have fun watching it. So all ages are targets. Boobs do not shake. No people die, no blood.

 

Regarding the first episode of Asao, it's better to be cool than Sadamoto's easy to understand story! So, there were some difficulties for local grandpa. So from the second episode, Mr. Fukuda suggested that we make the flow of the story.

 

Fukuda Is that what you mean? (Laughs).

 

監督 Please tell me how Fukuda and Mr. Sadamoto searched for and wanted to make what they wanted to make.

 

Fukuda 's episodes 1 and 2 may not always be what Sadamoto wants to do. Because we're building a team for the first time, we don't know everything. It is natural that their hobbies, tastes, and ways are different, and I think that the first episode explored their coordination. So there are a lot of places where I could do this now.

 

── In the second episode, I felt the hangar of a giant robot of the IXA system, the feeling of a laser emitted by a giant flying object, and the feeling of Gainax works from the 1980s and 1990s.

 

Fukuda : No parody or tribute to this work. I didn't think I wanted it.

 

What emerges larger than Mt. Asao is the idea of ​​Mr. Sadamoto and Mr. Arakimari of character design. So it's not a parody, but what you want to do and what you want to make while you've been there all the time.

 

Both Furusato Fukuda and Sadamoto are veterans and have a variety of know-how. I also have techniques such as how to show. I think you're doing it normally, such as the way in which super huge mechanisms appear.


 

──The fact that schools and mountains are cracked and something huge comes out is also a tradition that has been passed down to children's anime and the brave series.

 

Furusato It is Mr. Fukuda and Mr. Sadamoto who make what they need in a “normal” way. However, if you look at the cut cut, it looks like a gainer, the action scene is like a sunrise, it is a cut split by Fukuda! I am grateful that there are core people who look deeply at each.

 

If we are too particular about Fukuda action and mecha, the site will collapse, so we have not put all our efforts into that area. Actually, at the meeting level, Mr. Sadamoto also came up with a deeper idea, but eventually we have to land on a work that everyone in Miharu can enjoy, so in a direction that does not give out a geeky color I'm doing We are usually geeks too, so even if you are unconscious, such colors will come out, but you are trying to suppress them.

 

Furusato Because the movement of something big comes out slowly, multiplying the number (of the drawing) can be a big deal. Moving it up or down and using CG costs more money. In the old days, there was a method like stopping harmony, adding smoke and effects ... Anyway, it is such a meaning of production, so for me, "normal" is such a thing. However, if you actually look at the scene, it will look cool as a single picture! I think that's because professionals named Fukuda and Sadamoto make it. We just care about the number of cuts and the number of copies (laughs).

 

Fukuda CG is nothing but a budget (laughs).

 

Furusato did it according to the rules such as budget and schedule. As a producer, I'm very grateful because the first thing that makes viewers happy is what they think.

 

ど う How is your reaction in Miharu, your hometown?

 

Asao Child is pleased. Of course, the main purpose of the town is to have a lot of outsiders interested and go to Miharu Town, but before that there is the recognition of Aihime itself. Before this project started, there were very few children in Miharu Town who knew Aihime, so the people in the town seemed to be very shocked. Now that we have created characters and made animations, when we take a questionnaire to Miharu's children, almost everyone knows Aihime. He said that it was the best for the town.

 

The hint of the third episode that can not be completed has already appeared!

ア ニ メ As a local animation in which the local government participated, I think it was a very aggressive work.

 

Mr. Sadamoto talked from the beginning that the work was set in Asao Miharu Town, but drawing the town as it is is not his primary purpose.

 

I'm not going to location hunting in Fukuda .

 

Asao That's right. The director went to Miharu Town in midwinter. It was in a snowstorm. Therefore, I think that the places where the town people have a lot of thought are quite involved. Especially in the second episode, the director thinks in various ways, such as a high school, a hospital, and a small fork in the town where characters talk.

 

 

桜 In the first episode, cherry blossoms are impressively depicted, and in the second episode, plum blossoms are impressively depicted. I guess the motif is the origin of the name of Miharu, where cherry, plum, and peach bloom at the same time in spring.

 

Oh Asao , the reading is amazing (laughs). That's right. The design of the costume is also in line with it.

 

How was Fukuda going to location hunting?

 

I have been to Fukuda several times, but Miharu is a beautiful place. However, where I was location hunting, the ups and downs were tight, and I responded to my lack of exercise.

 

Furusato: That's what Fukushima Gaina went to, right? That's also interesting.

 

The building that houses Asao Fukushima GAINA was originally a junior high school, and was fully maintained after the earthquake, but it was closed down due to the declining birthrate and the earthquake. Now, we are using it, but there is nothing around us, so I think it's a good environment to concentrate on animation production.

 

It's a good environment in that sense because you can walk to the famous village of Furusato Takizakura.

 

It's good to focus on Fukuda work, and there are school yards and gymnasiums. I hope we can create an environment where we can sleep, so that we can make more works in Fukushima. After all, it is the best reconstruction that money goes around and people go around.

 

あ り Are there any difficulties unique to works with local governments?

 

Asao is a business that cannot be developed as a profitable business.

 

If it can be established as a Fukuda content business, it can be rolled out nationwide.

 

Asao After that, there was a request or request to "do not break XX".

 

──There seems to be a request to break “Girls & Panzer” in Oarai-cho, etc., so it is interesting because there are differences depending on the local government.

 

Fukuda I think it would be better to break it, but how much Godzilla has destroyed the building (laughs).

 

The attack has landed on the dam in the first episode of Asao, but the dam has not broken down just because the water column is rising. The directors are thinking about it there.

 

 

い か How about the music that colors your work?

 

Asao Music is also a point that Sadamoto is particular about, and I have ATOLS who is making vocaloid songs etc. Mr. Sadamoto wanted to work with a new musician while adding a Japanese taste, so he searched for it himself. From a musical point of view, the first episode has no break in the background music, and is connected as one song from beginning to end. In the second episode, I use it as a play accompaniment.

 

I handed the story of Furusato and asked them to create music for the video.

 

で す ね It's a method similar to film scoring. Finally, please give us your attention points and enthusiasm for Episode 3.

 

Fukuda I would like to produce an animation for all ages that will make everyone happy. We want to make a good work, but this time we are working with a different approach than commercial animation, which aims to sell products and goods. So it was interesting and I learned. Because we are making it into a united story as far as the third episode, we want to put together the flow so far so that people who support us will not say "The last is this!" think.

 

I'd like you to look at the poster for Furusato Episode 2; in fact, this poster has the grand spoiler of Episode 3 hidden (laughs). I was surprised, so please look forward to it.

 

 

I want to make `` Aihime '' loved by people in Asao- cho and `` Aihime '' to go to Miharu-cho, so I want to make the project not the end of the animation, but start from there You. Please provide some support.

Last but not least, this year is the Olympic and Paralympic Year, and we hope to help many people from home and abroad come to Fukushima, so we will hold the annual SF tournament at Bandai Atami Onsen in Fukushima. . We also hope that "Aihime MEGOHIME" will be screened as content originating in Fukushima, and we will be able to hold guest talks on the theme of local and anime production. Of course, we are adjusting to have Director Fukuda and Furusato come, so thank you!

 

Akiba Research Institute will continue to interview Yoshiyuki Sadamoto and publish valuable original drawings and materials. I'd like you to check that together.

 

 


 


 

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