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Producer and author Sekai Saikou no Ansatsusha commented on interesting facts about anime

The portal AnimeNewsNetwork I interviewed Rui tsukiyo, author of light novels Sekai Saikou no Ansatsusha, Isekai Kizoku ni Tensei suru (The Finest Assassin of the World Gets Reincarnated in Another World as an Aristocrat), before Masafumi Tamura Y. Katsuhiko takayama, director and screenwriter of the anime adaptation, respectively.

Rui tsukiyo commented on his popularity as a writer »dark storiesAnd why he writes them: “The greatest advantage of writing a gloomy dark life is that it brings out the benefits of the hero. Overcoming a sad and unjust situation involves a lot of catharsis. That's a dark story appeal. Also, I think today's readers are looking for main characters who are determined and ruthless above all else. Dark fantasy also matches those character types. As long as the current trend continues, I think the popularity of dark fantasy will continue».

He also commented on the appeal of having a main character who does not hesitate to spoil the lives of his enemies: «I prefer the main characters who do not hesitate. A suspected assassin in the first place would be a disaster. If they have any hesitation before their goal, they should not have taken the job in the first place. Also, as I said before, today's readers are looking for strong, determined main characters, so I avoid writing suspicious characters. That said, while it's good that they don't hesitate, readers find it hard to sympathize with a character who feels nothing after the kill. They have no hesitation before the action. But then they look back on what they have done, and their hearts are touched. By keeping Lugh’s humanity in this way, I can enjoy him as a character and enjoy writing his story.».

On the other hand, the director Masafumi Tamura they commented on how the animation production work was distributed, as did two anime studios: «SILVER LINK did an odd episode, while Studio Palette handled the fair episodes and the opening and closing sequences.». He also commented on the three voices of the prime minister (Jumpei Morita, Makoto Koichi and Kenji Akabane): «To convey the vibe of the old assassin and his way of speaking, I had to sit Koichi and Akabane and watch Morita's voice recording sessions. In this way, they were able to succeed him. I am very interested in Morita's voice; He meets the spot with the talented cool man. I told Koichi to keep up the old assassin vibe; Even as a child, he speaks in a calm, collected manner and implies that he never tries too hard. I was very concerned about the timing of the transition from Koichi to Akabane. I told Akabane, when the character talks to the heroine, that he is never flirtatious or shame. Always act on your calculations and plans».

He commented on the performance of the open, led sequence Ayaka nakata: «When I made my requests on the theme of the opening, I asked for a piece that would depict the ambiguous image of light and shadow in the form of a tonal change. When I listened to the demo song, I felt a little insecure because it was too good as an anime song… but the idea for the open images immediately came to mind. At first, I intended to draw the initial storyboards myself, but I found it difficult to put the image from my head on paper. While I was discussing, Ayaka Nakata was introduced to me from Studio Palette. When I saw some of the sequences he created, I felt in my gut that it was the right one, so I enthusiastically asked him to take over the production.».

He continued: «In our opening meetings, I listened to the song with Nakata and told him my image for the sequel: Light and dark, monotonous black and white, gradually showing colors, each character appearing according to how to modify the song, silhouette inside a silhouette, etc. . If I remember correctly, the meeting lasted about four hours. For her part, Nakata was reading the script, so she had a great understanding of the story. The meeting was very fluid; we had a lot of fun with it and went deep. And when I saw the storyboards that he presented to me, they were 200%, no, 300%, the images that I wanted to make. I was so soft that it made me want to take part in the premiere myself, so I drew the part where Tarte walks and steps on a mask. I fell mad in love with Nakata's visual sense».

The screenwriter Katsuhiko takayama commented on how many volumes of the work were to be adapted (Sekai Saikou or Ansatsusha anime only covered the first volume of the original light novels): «We started with the fact that it would be twelve episodes in total and we worked backwards from that. We figured out where we wanted to end the final episode, and then figured out if each of the individual episodes before that point could be satisfying stories. A light novel editorial department and producers gave us different suggestions in different places, but director Tamura and I were thinking almost identically, so we came to a decision on these points. If we had just followed the general plot and focused on the development of the story, we could have gone through many volumes, but we would have a much less dramatic weight. The play expands based on the emotions of the characters. It would be a good idea to focus on the plot above the character drama for a soul that deals with the main theme of the story, but the individual episodes may have a disconnected theme, depending on how the source material is set. That said, if each of the twelve episodes were created with a small number of events, the development of the story would be too slow and potentially boring. This time, we decided to make a story where the characters live and struggle with the drama. To enact drama, you have to watch it unfold in real time, so we approached this adaptation with an emphasis on giving weight to individual episodes. Honestly, even with this approach, we didn’t have enough time. If we kept the 12 episode structure, but if we gave everyone another five minutes, I think the end result would be even stronger.».

He finished by focusing on his original scenes (not present in Sekai Saikou or Ansatsusha original light novels) Favorites: «It must be episode 1. We write scenes set here and in the past by extrapolating the themes from the source material. We were able to convey an accurate and holistic vision of the series with the scene from Lugh’s future in his assassination assignments with his heroine team and in the pre-reunion scene of his life as a gray assassin. Most of the additional scenes in the series were written correctly by interpolation. Almost all of them complement the descriptions of the closed scenes of the original novel, so there is nothing that deviates too much from the original. However, there are original scenes in Episode 1 that are not directly addressed in the source material. We write the scenes before and after the beginning of the main story so that the themes are developed without taking the viewer out of the story.».

Fountain: ANN | Sekai Saikou no Ansatsusha

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