Translated interview with the director of new anime of Legend of the Galactic Heroes
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For a start, please tell us the story of how you became the director of Ginga Eiyuu Densetsu Die Neue These.
I’ve been a fan of Ginga Eiyuu Densetsu since I was in school. The official poster in an anime magazine made me interested, so I went to watch the first theatrical movie, My Conquest is the Sea of Stars, and it was beautiful. From the theater, I went straight to a bookstore in Shinjuku and bought the original novels as many as possible and went home. Ever since I became a director, I have always wanted to try producing a work that’s set in an expansive universe like Ginga Eiyuu Densetsu. I also told Production I.G.’s CEO Ishikawa (Mitsuhisa), “I want to try making a work set in an expansive universe even for only once.” (laughs) At that time, I wasn’t expecting that Ginga Eiyuu Densetsu would be adapted into anime again, I just thought I wanted to try being involved in the production of a work like that, even only as an episode director. Later, that day, CEO Ishikawa asked me, “Do you want to direct Ginga Eiyuu Densetsu?”
Things escalated quickly!
I was really surprised and felt pressured about becoming the director for Ginga Eiyuu Densetsu, but if I missed this opportunity, there would not be another chance to make Ginga Eiyuu Densetsu for at least 20 or 30 years… Thinking that I don’t mind being a director or whatever as long as I’m involved in Ginga Eiyuu Densetsu, I immediately replied, “I’ll do it!”
What’s the charm of Ginga Eiyuu Densetsu that made you feel so passionate about it?
It’s set in an expansive universe, but basically it’s a work that depicts an ensemble performance of human drama. Each character is depicted as having their own charm. I think that’s the work’s number one appeal.
You were also involved in the production of the third side story Asa no Yume, Yoru no Uta (Morning’s Dream, Evening’s Song) that was directed by Ishiguro Noboru. As a fan, how did you feel about being involved in the work?
I thought it’s another ordinary job offer, but when it arrived, I got so excited because “I’m going to work on Gineiden!” However, at that time I was only a newbie, and the pressure was quite strong. Even until now I still remember thinking “What to do if the episodes I’m taking charge of turn out very bad?” while working on it.
This time, as the director of the new anime adaptation of Ginga Eiyuu Densetsu, what things are you especially concerned about?
I said that I love it as an ensemble performance, so the most important thing for me was properly producing it with my own approach. Because I really love the anime directed by Ishiguro, if I’m not careful, I might just reproduce it. However, because Die Neue These is not a remake, I’m always aware that in directing, although I keep the dialogues of the original novels, I can neatly put my favourite elements into them—that’s the first thing I thought.
And your favourite elements are?
Surely I love the simple style of the conversation, but if I had to pick, maybe it’s “atmosphere”… For instance, a scene when it’s only a man standing alone, but somehow it looks picture-perfect; it’s something I like, but also something I’m good at. I fussed over the way Reinhart sits on the captain seat in the trailer. I asked an animator who could draw the atmosphere the way I wanted it to do it. Also, I pay great attention to the energy of the young characters. Reinhart and the other characters are actually in their 20s. Although of course I respect and love the solemnity of the anime that Ishiguro directed, I want Die Neue These to have this feeling of the walking speed of a man in his 20s. I think that’s where my strength lies.
Since I believe there will be more characters (the interview was made when only Yang, Reinhart, and Kircheis had been announced – translator), could you please tell us the direction of the character designs of Die Neue These?
So far we’ve had the designs of the three main characters. Kikuchi Youko, who designed the characters that have been announced so far, has designed characters for many works, but whichever character she draws, they bear this particular charm that we can call ‘Kikuchi touch’. I’ve known her since I was still a newbie, and I’m a fan of that ‘Kikuchi touch’. For this work, when I was choosing a character designer, the production house recommended Kikuchi, and I felt relieved for being able to ask her to do it. I thought, She must be able to provide that ‘Kikuchi touch’ even in Gineiden. Those amazing characters with the youthful atmosphere were thus designed by Kikuchi-san.
Please also tell us about the other character designers, Teraoka Iwao and Tsushima Kei.
Teraoka Iwao-kun is a Sunrise animator, but I’ve known him since I was still a very beginner production assistant. At any rate he’s very competent. I asked Teraoka-kun to design the rough-looking middle-aged and older characters from the Empire and the Alliance. Tsushima Kei-san is an I.G. staff, and he’s very skillful. He could draw what I told him very precisely, so he designed the so-called supporting characters. The characters are young, but they’re drawn in a different way from the main characters designed by Kikuchi-san. However, the characters need to have individuality. Each of the three character designers have their personal style, and they provided us with totally awesome designs. I really want to show them all to everyone soon.
Of all the many characters designs so far, is there any that made you feel surprised in a good way?
For the characters with physical look clearly described in the original novels, we decided to use designs that are not too different from those in Ishiguro’s adaptation. On the other hand, for characters without specific descriptions, the three character designers are free to design with their own personal style, and they went all out designing characters that look different but could match those in Ishiguro’s adaptation. When I saw the results, I felt excitedly surprised, “Oooh, that’s the way!”
Three people have also been announced as the mechanical designers. Please tell us the direction of the mechanical design.
Since the three of them are renowned designers, first of all, everyone is free to design however they want, then develop it by brushing it up according to the logic (the setting) of Gineiden. Atsushi Takeuchi, who’s in charge of the mecha of the Empire, has done mecha designs for many I.G. works. His designs, which employ a lot of curved surfaces, are very attractive. While Usui Shinji-san and Tsuneki Shinobu-san, who do the designs for the Alliance side, are designers whose charm lies in their linear designs, opposite to Takeuchi-san. Each of them designs according to what they’re best at.
Moriyama Yuujirou joined the main staff as assistant director. How do you split responsibilities with Moriyama?
Usually, we do the same things like an episode director, such as editing the storyboard, directing… but if I had to say then I guess his main job would be drawing the images I share with him… Moriyama was originally an animator, while I’m in production. That’s why, when I want to add some more cool things into the storyboard I’ve edited, Moriyama-kun would draw them for me. Also, he also does parts within the story where if we don’t construct (the setting) even for just 1 or 2 cuts, it wouldn’t feel like the world of Gineiden. However, since Gineiden uses a lot of background arts, it’s difficult to order background art just for 1 or 2 cuts. When that happens, I would tell Moriyama-kun, “I actually want a setting like this”, and he would really draw it for me.
Moriyama also took part in one of your keyworks, Star-myu.
I got to know him when Moriyama-kun was still a key animator. It feels like I always drag him along whenever I’m working on a program. (laughs)
When you start on a new work, in what way Moriyama-san, who’s worked together with you for a long time, has a great importance?
Like I’ve said many times, since I’m a big fan of Ishiguro’s adaptation, honestly, when speaking of Reinhart, what comes to my mind is the image of Horikawa Ryou-san. However, Miyano-kun was able to set aside that image and convinced me that “This is also Reinhart.” The same thing goes for Yang Wen-li’s actor Suzumura (Kenichi)-san. When speaking of Yang, Tomiyama Kei-san’s voice would appear in my head, but Suzumura-san was able to make me think “He’s no Tomiyama-san, but that is Yang right there.”
Was Kircheis’ actor, Umehara Yuuichirou-san, was chosen for the same reason?
Actually it’s a bit different with Umehara-kun. Although age-wise Kircheis is the same, since the stage of character designing, I firmly wanted Kircheis that’s completely different from the Kircheis in Ishiguro’s anime. That’s why we looked for someone who truly fit the current description of Kircheis, and we decided to ask Umehara-kun to take the role.
Why did you wanted Kircheis to be designed in such a way?
Kircheis has always been following Reinhart since they were children. If he’d never met Reinhart, he could probably be a leading figure himself. I wanted to create a situation to depict why such an impressive man would on purpose follow Reinhart. But if he had never met Reinhart, probably he would become a florist, influenced by his father’s hobby of growing flowers. (laughs)
It seems that a few days ago the voice recording of the first episode has already been done. What were your impressions?
Since the first episode, I certainly experienced Gineiden as an ensemble performance. It’s because, only a few characters in the first episode will continue appearing afterwards. There were about 20 actors called up for the voice recording (laughs). Besides, for instance, in a certain work I’ve previously done, the fight is between 5 people against 5 people, which means all 10 are protagonists. However, in Gineiden, the fight is between the characters like Reinhart that we label as protagonists, and middle-aged characters who in other works are mobs who’d never appear again.
Because within the work, they would be of the same status, and would clash on an equal footing.
That’s right. Miyano-san and the veteran seiyuu who voiced this middle-aged character exchanged dialogues like each of them was a leading character. I thought, Well, this is Gineiden.
Ginga Eiyuu Densetsu is a work with many passionate fans. What kind of work do you want Ginga Eiyuu Densetsu Die Neue These to be for such fans?
For me, again in terms of animation, because we use modern technologies such as CG, probably we could upgrade the visual side of director Ishiguro’s adaptation a little. Well, we could only do minor upgrades. Because there were many highly skilled animators working on director Ishiguro’s adaptation too. However, I wonder if fans who have watched director Ishiguro’s adaptation would enjoy that upgrading. Then again, since it’s a new work we’re making, it would be meaningless if we don’t get new viewers from people who’ve never experienced Ginga Eiyuu Densetsu before. I realize that the hurdle is so high, but I want to make the people who love director Ishiguro’s Gineiden enjoy the new designs and the new cast, and I also want people who didn’t know Gineiden before to think “Tanaka-sensei’s Ginga Eiyuu Densetsu is interesting!”My goal is that more people, men and women of all ages, experience and enjoy Ginga Eiyuu Densetsu.
So although serving as an entrance for new fans to Ginga Eiyuu Densetsu,this anime also aims to please the core fans.
Although aiming for both are difficult, but that’s what making another adaptation of Ginga Eiyuu Densetsu means. We’re aiming for it.
For you, what kind of work Ginga Eiyuu Densetsu Die Neue These would become?
I like drama serial like TV series. Ginga Eiyuu Densetsu is a very long tale, and there were already 110 episodes directed by Ishiguro. Which means, if I can produce it until the very end, I can make 110 episodes of the serial story that I really love. (laughs) Thus, I’m really looking forward to it, and I’d be happy if I could produce it until the end. I cannot spoil this yet to people who’s new to Gineiden, but I’ve always been thinking of how to do that scene. (laughs)
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Lastly, please give your message to the people who are waiting for the broadcast of Ginga Eiyuu Densetsu Die Neue These.
This is a fascinating story with its vast expanse of ensemble performance, and I think we would miss the real charm of Gineiden if we skip some of the stories. That’s why, when the broadcast starts, please make sure you watch it in whole (laughs). Until you can finally see the long drama… the ensemble performance of Gineiden, please stay updated.
Original interview:gineiden-anime.com
>we decided to use designs that are not too different from those in Ishiguro’s adaptation.
nigger what?
But that's understandable otherwise they'd be accused of carbon-copying
The absolute bullshit producers put into his mouth just so they can get teenage fujo bucks
What drink are you choosing for when the anime airs?
It's reassuring they are using different character designers, at least some characters have a chance to not awful
But I wonder, who designed that Casselnes?
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All of them look terrible. I mean, Oberstein can cheat you for a while, but then you realise how awful is.
They all look like fujoshi bait. Rein and looks the exact same as Kirk
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So, what I got from this interview, he doesn't know yet how much episodes it will be, but hopes for another 100+
The old one was too.
A military uniform with white/grey pants bothers me.
That's FPA trademark uniform, how it was described in books (berets, ivory slacks and scarves). I'd say, the new FPA uniform is the only thing I like in redesigns, especially jackets.
I know, but just imagining being forced to wear white pants every day for work makes me shudder. It's so unflattering, and white gets dirty so fast.
Yeah, realistically Yang's pants and scarf should all be dirty from tea, brandy and inks. But maybe they have self-cleaning fabrics in future.
Let's agonize over the new character designs.
He actually looks like his old self.
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I was just gonna say, it's a real fucking problem that I DON'T KNOW WHO THIS GUY IS. Like I've seen the entire original OVA series twice, and I honestly can't tell what fucking character this is supposed to be. It looks like some random dude from a Gundam show or something.
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I actually like Mittermeyer's design. He looks nice.
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>one of your keyworks, Star-myu
This is making me feel weird.
I can't believe he paid extra attention to make mein Kaiser to sit uncomfortably in an ugly chair.
Mittermeyer is the only one that didn't make me do a double-take immediately. It's fine, mostly because his design was so simple in the original show.
The rest of them are fucking atrocious though, goddamn.
looks like monkey
Cazellnu looks like he was always picked last for dodgeball
>probably the most reliable admiral with a loving family, knows about his responsibilities
>make him look like an asshole who'd waste FPA's money on hookers
What were they thinking?
He doesn't look like an asshole, he just looks like a useless nerd who everyone avoids
>Although of course I respect and love the solemnity of the anime that Ishiguro directed, I want Die Neue These to have this feeling of the walking speed of a man in his 20s. I think that’s where my strength lies.
That's true. Especially later in the series, Reinhard doesn't look as brat-like as he did at the start even though only 2 years passed.
And holy shit, why does Kircheis look like that giant dude from One Flew Over the Cuckoo's Nest? Why is Reinhard friends with the fucking nephilim?
Well this explains the character designs.
Which giant guy are you talking about? The Indian?
Looks like I got over 4 stages of grief and undergoing Acceptance now. After hating new designs two days straight, I'm starting warming up to them. Reuentahl is the only one I could never accept, because what the hell is this hair. But all other more or less accurate to their book descriptions, distinctive and tolerable.
Why doesn't he look like a handsome old man anymore?
I agree with you the more I look at him.
Yeah, dude just towers over everyone in the OP image. Schenkopp also does, but he's established as a fucking giant in the show. Kircheis needs to relax on the vegetables, nigga's too large.
>On the other hand, for characters without specific descriptions, the three character designers are free to design with their own personal style, and they went all out designing characters that look different but could match those in Ishiguro’s adaptation.
But Cazellnu/Caselnes is described as FAT in the novel.
>Teraoka Iwao-kun is a Sunrise animator, but I’ve known him since I was still a very beginner production assistant. At any rate he’s very competent. I asked Teraoka-kun to design the rough-looking middle-aged and older characters from the Empire and the Alliance.
I wear white pants every day.
I don't like Schenkopf's stupid tie though.
>in terms of animation, because we use modern technologies such as CG, probably we could upgrade the visual side of director Ishiguro’s adaptation a little
This fucking hack
CG is the future. The entire anime industry said so, which is why it's one of the most important exhibition at the Anime Japan 2018 industry expo.
I like that they added some distinctive details in their uniform like that. They all wear ties, but we don't see them under scarves. But Schenkopf acts like he is too cool for scarves. Also his pants have an extra pocket for some reason
I would quit my job right away if they made us wear white uniforms instead of navy blue, but I hate it too much already
Partichev will be a handsome beanpole in this adaptation
How is Dusty going to look like? Will he still be cute?
he looks like that guy from nichibros
Ignoring that his name in the fucking filename, I'd say he is the easiest one to recognize. There are only who characters in series with salt-and-pepper hair.
It's one thing to say, but completely anotehr to do it good.
They're slacks, and I wear them because I think they look good against colorful polo shirts.
Dusty doesn't exist in the novels except as a guy who gets footnotes about
>Dusty Attenborough was put in charge of the missile ships during the battle and dindu nuffin
I don't look at people's hair to tell them apart. Obershhhhhtein had a disapproving "you're a fucking idiot" look on his face the entire time, and of course his CYBERNETIC FUCKING EYES. This render lacks both of those, so I'm literally looking at a random Gundam character.
I'm sure you look beautiful, user.
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I believe that the original show Kircheis if anything was a bit too small.
Kircheis was always portrayed as a physically very strong person.
Friendship with Dusty ended, now Lao is Yang's best friend
Yes, Kircheis is supposed to be even taller than Reinhard and a good fighter.
Kircheis in the new manga is a joke though.
And that was the interesting part for me. I thought it was kind of cool that a room full of hardened military veterans knew not to fuck with the red-haired kid, since he was a beast with pistols. It was an interesting dynamic. Now it's just "HULK SMASH"
>I can't believe he paid extra attention to make mein Kaiser to sit uncomfortably in an ugly chair.
Fails to capture the lack of humanity in Obersteins eyes.
Probably the least butchered design
Why the fuck would Reuenthal walk around with long hair? This a person who was so proud that he rather branded himself as a traitor than groveled for forgiveness. He was pure pride and self-discipline. Not some long-haired stoner.
He's alright, assuming he actually starts growing and becoming more fit and masculine as the series progresses.
A fucking monkey
Looks a bit too young and lacks the posture of a born soldier. Also weird me out seeing him in a navy uniform.
>[the characters] bear this particular charm that we can call ‘Kikuchi touch’
Oh is this like the charm of a storyboard with the 'Urobuchi touch' or 'Okada touch'
>Kikuchi Youko, who designed the characters that have been announced so far, has designed characters for many works, but whichever character she draws, they bear this particular charm that we can call ‘Kikuchi touch’.
Just say "sameface", you coward
Shame it's barely noticeable in main OVA, at least in Gaidens he did beat 5 men with bare hands once
>Fails to capture the lack of humanity in Obersteins eyes
THAT is the fucking problem I have with him. You nailed it better than me. The way that character is designed, you'd think that he's just some tortured soul who'll one day do the good heart-warming thing. In the original show, you knew that Oberstein is up to his Oberstein shit, 24/7, 365 days a year.
They don't have sameface though. There's plenty to criticize and you pick the one thing that isn't actually wrong with the designs.
Whom is he wearing here, Julian?
Who else should have designed the characters? Personally, I would have let Naoki Urasawa do it. Someone else mentioned that his characters look too distinct, but I think he's really good at designing a wide variety of faces and people that actually look human, without them all looking the same.
After seeng that one KnB art, I'm surprised they actually look more or less distinctive. They still all have this bishie heart-shaped face though
I'd die to see Logh manga made by Urasava.But his designs usually are losing some charm when animated.
That's true, I hope the Pluto adaptation looks good. The colour scheme for Monster was so hideous.
I love me some Monster and Keaton, and the early parts of 20th CB and Pluto don't know that he has enough variety. There are some designs he's used in basically every series.
Yeah, but even if you removed the hair and clothes, you could still be able to tell apart the designs.
No, the real problem is that whoever did the designs didn't bother getting familiar with the source material. They've designed the characters on second hand information and it shows.
The original anime designs were much more low-key designs that never "popped out", but you could from a glance tell that what sort of person the character was. Whoever did the designs were intimately familiar with the LoGH cast.
Here though, it's clear that the designer has just gotten a rough explanation on "how the character should look" and used that to make a character. None of the "soul" of the characters have been preserved.
>Reinhardt's steely eyes have turned petulant
>Yang's war weariness is gone
>Cazzelnu has gone from reliable to shifty
>Schenkopf is slouching
>Reuenthal has become effeminate
>Oberstein's eyes are no longer soulless
I've just noticed that the side characters usually look distinct if they're in the same series. And he's really good at drawing old people and middle-aged men. And Europeans. And showing people's personalities through their looks and gestures. He would have given us a Schenkopp, Reuenthal, Yang, etc. that actually look like themselves.
My shit taste dictates me to watch anime like KnB, but I hate their designs so much that I ended up not watching it. While still bad and disgusting, LOGH designs don't look as bad as Basugay.
knb has the shittiest design in all of sports anime
>Yang's war weariness is gone
This is that got me the most. Where are his under-eye bags from constant sleep deprivation?
I think Naoki Urasawa would have done an ok job. His designs might be a bit too distinct, leaving a big Naoki Urasawa print on the whole production, but at least he's good at what he does.
>My shit taste dictates me to watch anime like KnB
Same, also the reason I never watched Free
Yeah, if Urasawa was basically unknown but had done the LOGH designs, I think people would have been happy with them.
>Who else should have designed the characters
Yuasa
This "Hilde" is lliterlly a new Julian, barely any difference
While I hate the fact that there's Kuroko jizz all over this new LotGH, I would still rather re-read Kuroko than Slam Dunk. I could have watched LotGH when it was coming out over 9 years, and it would still feel like it has better pacing than SD.
A Katerose in Urusawa's style might just Westerland my balls
I wish there were better scans for Slam Dunk than some shit translated by someone who looks like they don't know English or Japanese
Are KnB's shitty designs Kikuchi Youko's fault or it's just a legacy of original manga, and there was nothing to do?
This x100.
Why the fuck does Reuenthal have long hair? He's an officer in the army
Is not that an exaggeration? It's still just an image, we have to see how the animation is