"Brave Tomana" made zuò group dialogue

Ever since the original anime "Yuuki Yuuki Yuuki is a Brave" was launched in October last year, the discussion around this work has not stopped. Previously, Tencent Animation had reported that some magazines had stolen away pictures exposing the news that "there is a fantasy ending in the 9th episode of the work", "as long as everyone gives it, the second season is not a problem". Now the full text of this interview has also been released, and Seiji Kishi, Makoto Kamie Shu, Takahiro, Toshihiro Maeda, and Takao Aoki are all present to talk about their works while eating. If you are interested, you may wish to take a look!

Q: Today, to commemorate the end of Yuuki Yuuki is a Brave Man, we held an interview. Thank you for being here for your time!

Kishi: Well, everyone's hard work. Cheers~!

All: Cheers!

Shangjiangzhou: Let's use yakitori to enhance women's power today!

Q: Everyone, while relieving the stress of work, I would be happy if you could tell us about Yuki Yuna is a Brave Man. Let's start now, it's been 1 month since the end of the work, how are you feeling?

Kamie Chau: I've been involved in the production of many works before, but the feedback from the audience for Yuki Yuna is the brave has been the strongest. When I went back to my hometown during the Chinese New Year, I found that even my friend's son and a high school student were fascinated by this work. And he was very enthusiastic to tell me about his work, which made me feel extremely happy.

Kishi: Ah~ This is great! You'll be happy to see the audience's reactions up close. It seems that the reaction of the guests has been really strong.

Shangjiangzhou: Just in terms of the reactions of middle school students, this is the first time I have systematically understood their thoughts. DID MR. TAKAHIRO GET ANY FEEDBACK FROM OFFICE WORKERS?

TAKAHIRO: Basically, I don't talk about works in the company. No matter what other people say, I'm just grinning silently. Therefore, the members of the club were angry at me and said, "Give me a reaction!" We are in the same mood as the audience! "(laughs) I hear the most direct impressions from them every week, so I'm personally happy.

Kishi: Now I feel like the meat in front of me is almost roasted! It's been a long time since I've eaten meat like this, and it makes people feel high! By the way, by the way, if you want to talk about the end of "Yuki Yuna is a Brave", right? I'm exhausted anyway.

Shang Jiangzhou: That's right.

Kishi: Every member of the system is constantly "full of flowers", and then they are also "scattered" one after another...... How to say, the scene is already a mess. Although it's for work, there's no way around it, but everyone works all night to accompany this anime.

Shangjiangzhou: It's really hard......

Kishi: That's why after Yuuki Yuuki Yuna is a Brave Man, I went to a certain amnesty and prayed seriously. I'll be honest: I've reached the limit, and I can't ask for anything more! (laughs)

Shangjiangzhou: The amnesty is actually real!

Kishi: Well, save zài! Although I can't tell you where you are! (laughs)

TAKAHIRO: (laughs) Yuuki Yuki Yuna is a Brave Man was a long time to make, but it really felt like a fleeting moment since it started, and it felt like we were overwhelmed by time for three months. When the qiē is over now, I can really breathe a sigh of relief. During the Chinese New Year this year, due to excessive overdraft, I fell down with a fever.

UEE SU: MR. TAKAHIRO HAS ALREADY "DISPERSED". Anyway, I was also asleep during the New Year, and I finally made up for the part that was lost from my bones.

Q: It's because you keep repeating high-intensity work. So, what is the hard part of the process of making zuò?

Shangjiangzhou: All of it, all of it. Although it's fun to go out to shoot.

TAKAHIRO: Personally, I think the script part is more difficult. In particular, the main plot of episodes 2 and 5 is the battle, so how to show this effect took me a lot of thought. However, in order to compensate for the hard work of these two episodes, I got the opportunity to write about my daily life in episode 7. For me, that episode was very healing.

Shangjiangzhou: It's hard to have a fighting drama. After all, it is difficult to grasp the overall picture and movement.

Kishi: Hmm~...... When it comes to hard work, it seems that there are all things that cannot be said (laughs). By the way, although it has reached a high height in terms of the results of the production of zuò, episode 10 is really painful. A lot of things happened at that time, and we were still on the spot to deal with the problem of painting correction until the broadcast. In that sense, episode 10 sticks in my mind.

Shang Jiangzhou: Director, the new meat is roasted!

Kishi: Can I eat this too? Hey, could it be that I'm being served by you? Do I have to fight Batik starting tomorrow?

TAKAHIRO: Speaking of which, I just thought about something. After the end of episode 7, many viewers sighed: "Yuna, can they make such a boil just by looking at the crabs?" (laughs)

Kishi: (laughs) That's what society looks like!

Aoki: Speaking of difficulties, there were a lot of problems when it came to determining the direction of Batic's design.

Kishi: Yes, yes. In the beginning, we started by designing Batik, who appeared in Episode 1. So we asked D.K and WWORKS, who were in charge of the design, to see the finished product. Because at this stage, we first want to see what they think of Bartick.

TAKAHIRO: The final style is: don't embody the horror of life.

Kishi: Yes, it's not very comfortable, but it seems a little cute, and in short, we want Batik to be a kind of existence with a wonderful feeling.

Q: Is there a big change from the early days of the design of Bartic?

Kishi: Yes. The original design was much closer to the shape of a monster than it is today.

Takahiro: It's like a sea creature.

Kishi: For example, let's have a sturgeon with a mouth on its back. To do this, we re-expressed the requirements in more detail with D.K and WWORKS, and then came up with several designs.

Aoki: Since we are all people living abroad, we communicate with each other via SKYPE.

Kishi: I'm a proficient Japanese person, so it's easy to clear my thoughts.

Shang Jiangzhou: This is a very cheerful and happy person.

Aoki: And the reply is very fast. Really helped us a lot.

Maeda: Speaking of which, the reason why we asked D.K and WWORKS to be in charge of the design was because they had previously worked with Keiichi Okabe, who was in charge of music, on "The Nier Pretender". In fact, I could have imagined the difficulty of the design before I asked them. However, they took the task very happily and we were very happy.

Aoki: D.K. and WWORKS are overseas, but I think I've seen a lot of Japanese works, such as Kishi's "Seto's Flower Wedding". So when it came to this mission, they felt that it was a joy to be able to work with Director Kishi, so they were very happy to take over the work.

Kishi: I really appreciate it. Because of the creativity of D.K and WWORKS, we were able to create such a unique batik.

Q: So looking back on the whole work, do you think there are any places that can be further portrayed?

Shangjiangzhou: Hmm~ This time we spent a long time preparing, so the design was perfect. Whether it's the number of plots, the amount of art work, etc., it's all very clearly stipulated in the script meeting. For example, which episodes will have battles and which ones can't...... These details have been taken into account. Under the conditions that reality can give us, I think we have made the best results. So, from the perspective of the composition of the set, I didn't think about it like "it would be nice if I did XX further".

Kishi: However, from the perspective of the performers, I often think about "it would be nice if that plot did that" and "it would be nice to do that." Of course, it's all very trivial. I've already worked on several productions, so it's hard to be satisfied in that sense.

Shang Jiangzhou: These places of reflection will become the topic of the next work.

Maeda: Maybe the question I think about is a little different from "I hope to portray it further", but what impressed me most was the plot of the tree singing in episode 9. At that time, there was originally a shot of the Phantom "Brave Division". I was very moved when I saw the storyboard, and I was looking forward to seeing it in the real world. But the director decided to cut it. I'd love to see that scene again!

Aoki: You may want to ask where this is. To put it simply, we depicted the plot of "After junior high school in the tree, I became a member of the 'Brave Club' in the process of getting in touch with everyone, and everyone had fun doing activities". In this part, we made the length of the ending song, and the painting work was also very smooth. However, in the end, it was cut and the original ending song was used.

Maeda: It's a really good story. And there was also an exchange between the tree and Xia Rin, who originally felt like there was no contact, and although there were no lines, it was very touching.

Q: It makes people shudder! So director, why did you cut it?

Kishi: I've been playing this video over and over again, and I feel like I'm trying too the performance, and I even feel like "Is the tree dying soon?" So in terms of overall balance, it's better to cut this one. However, we don't plan to hide this image just yet, and if there's a time or place to make it public, then I want everyone to see it!

Shangjiangzhou: It's nice to include it as an "unused plot" in the Blu-ray bonus. It's like a Blu-ray movie.

Q: The stage of "Yuuki Yuna is a Brave" is Shikoku. And the delicate depiction of the western country in the work has also sparked a topic among the audience. I think you've done some careful research on the spot, but can you tell us a little bit about what happened at that time?

Kishi: First of all, when I was designing the world of Yuuki Yuna is a Brave Man, I wanted to focus on schools. From the beginning, I decided that Shikoku would be the stage, so I asked for a place where I could see the sea from the school building.

Aoki: Yes. There were 8 coastal schools in Shikoku that met our filming requirements, so I asked the director to apply for materials from all the schools. As a result, there was only one school that allowed us to use the material, so it became the prototype school for the work.

Kishi: It's kind of amazing, and I used this as a stage for my previous work "Seto's Flower Wedding". It's really very accidental, and it makes me feel like it's fate. Then the filming location was determined, and considering that Yuna and the others would live in this area, they conducted a thorough investigation of the surrounding area.

AOKI: AT THAT TIME, ONLY DIRECTOR KISHI, MR. UEESHU, MR. TAKAHIRO, AND I WENT TO SHOOT THE LOCATION.

Kishi: Yes, yes, only Mr. Maeda stayed at home. And when he heard that we always talked about Kagawa's udon noodles when we came back, he was very indignant (laughs).

Maeda: Really, I always hear them say it's delicious, but I can't eat it, it's terrible (laughs).

Kishi: Oh, really, it's so delicious that it's foul!

Kamieju: It's starting again (laughs).

Q: Is it true that the udon tastes so different?

Kishi: No, it's not about taste. It will be a difference in "meaning". It's different from the concept of "eating", it's a difference in "meaning"!

Shang Jiangzhou: This person is too difficult to understand, so troublesome (laughs). Okay, okay, different meanings are different (stick reading).

Q: (laughs) From the perspective of "Yuuki Yuna is a Brave", everyone loves udon.

Kamieju: Well, after all, udon noodles have become the national food of that world.

Kishi: Please go to the local area and try it. If you can eat a bowl of udon there, you can feel my feelings. "Ah, the meaning is different",

TAKAHIRO: It's really delicious! I think that after you have tasted it, you will be able to understand the pain of Touna being deprived of her sense of taste. In the last episode, the scene of Yuna eating udon is really good, really.

Kamie Seu: Regardless of the udon incident (laughs), the framing was great in every sense of the word. In this anime, with the exception of the sea of trees, almost everything else is based on real backgrounds. That's why we've taken the materials so meticulously that you can feel the real feeling from the distance of the street.

Takahiro: We used almost all of the exterior shots without reservation.

Kamieju: Among the audience, some people not only went to see Yuna's life circle, but even visited the places of interest that appeared in the episode 9 "Attack on Amnesty", which made us very grateful. After all, "That's where we took pictures!" (laughs) In the picture of the wind and the others fighting, the scenes that the characters pass by as they move are the same as in reality. If the audience goes to the scene, they will find that if the characters in the animation fly up and move from here, they will definitely land in that place. In fact, even if some of the things we experienced in that time were not reflected in the picture, they can still be very convincing. We've been to udon shops, ramps after school, and parks next to Seto Ohashi where the wind fights.

Kishi: Yes. After collecting the materials, I have a deeper understanding. I also think this location is definitely a trip to visit.

Aoki: And the stories we encountered when we went there were also incorporated into the work.

Kamiesu: For example, we saw the size of the Seto Ohashi Bridge with our own eyes, and we thought that if the walls of the barrier were not bigger than this, we wouldn't be able to do it. So a lot of changes have been made for this as well.

Kishi: Speaking of which, the most interesting thing is the content related to the sea of trees.

TAKAHIRO: Yes!! When we actually shot the location, we found that the local greenery was too high, and we thought, "Isn't it already a sea of trees" (laughs).

Kamieju: When we first made zuò, we wanted to make the branches and leaves stretch out, as if a sea of trees was spreading. After going to the local area and seeing the scenery there, I decided to completely change the sea of trees in the anime. This is also the idea that came after watching the real scene. Because of this, I think that no matter what work you do, you should definitely use the material.

Aoki: As the director said earlier, we filmed on the premise that "Touna and the others really live there." Therefore, no matter where you go, you must seriously consider whether Togo can go there.

Kishi: That's right, that's right. We simulated it everywhere and considered whether a wheelchair would be able to get through.

Shang Jiangzhou: In addition, we also use our own feet to determine how far the characters can go. Everyone was full of enthusiasm and thought, "Let's push the wheelchair and find out how it feels like to Yuna!" "In any case, you can go to every corner of the street and chat with the people in the neighborhood to get a feel for the atmosphere of the city. In order to know the life of middle school students, we also asked "What are the middle school students playing in this neighborhood?" Then I got the "go straight home after school!" This also made us suddenly realize.

Kishi: That's why Tokina and the others went straight home in the play. Even if you stay, you just go to an udon noodle shop.

Aoki: Also, while framing the anime, we also filmed the stage for "Washio Sumi is a Brave Man". For example, the soy sauce ice cream, a specialty of the INESU Food Street that appeared in the work, was actually tasted by all of us.

TAKAHIRO: I also wrote about the recommended foods in the prototype shop pù, which I wrote in the novel.

Q: What about the taste?

Aoki: Everyone reacts in the same way as Sumi and Sonoko.

Kishi: Oh, it's delicious, huh?

Shang Jiangzhou: Hey, isn't Xiaoyin there (laughs).

TAKAHIRO: We also came up with the idea that we can eat anything after we went to INESU. In the actual scene, we even went to the cultural center.

Q: Although Yuuki Yuki is a Brave Man ended in the form of HAPPYEND, was the final episode decided from the beginning?

Shang Jiangzhou: After I heard about this conversation, I checked the information carefully. If I have the opportunity, I want everyone to see it. But really, the current composition hasn't changed much from the beginning. After such and such events, they will eventually return to their daily lives. It's just that the question of whether Toona will reply or not, we are still discussing it until the last minute. Heck, the main reason why I kept this question is that I am the only one who disagrees with everyone. As for the question of whether Tomana's soul can return, I hope it will be revealed at the last minute.

Kishi: Of course, there's no doubt that she was cured. It's a given.

Shang Jiangzhou: In the end, I gave in. Makes the last episode full of happiness. Now I think it's great from the bottom of my heart.

Kishi: And as a price, Touna fainted in the end.

Shang Jiangzhou: The place where the yield is reflected is there, a little bit of a small move......

Q: In the last episode, the plot of Toona's eyes being black also caused a lot of repercussions.

Kishi: In other words, "Why did Toona faint suddenly?" "That's a problem. I can't say that yet!

TAKAHIRO: Oh, isn't the theme song "There's nothing more cruel than the truth"?

Shangjiangzhou: Also, the difference between the finished product and the original setting is that in the preparation draft, there is still a lot of setting to see the plot of the amnesty action. Even if you don't have a specific character name, at least the priests of Amnesty should appear and explain the stage of the work. However, when making the zuò anime, we still wanted to focus on the five of them, and not let the other characters be the focus except for the five people. Therefore, we deliberately did not let other characters appear. As for the classmates who wear glasses in episode 1, it's actually just a product left over from the early days of the production of zuò.

TAKAHIRO: That kid gives the impression that it's a kid in the circle of life of Touna and others, and that's it.

Kamie Chau: Although we also set the content of "How to hide the truth from Tomona and others over there", we deliberately did not express it in the performance.

Maeda: Speaking of the parts that don't belong to the focus, the same goes for Togo's mother.

Shangjiangzhou: That's right. Yuna and Togo both have parents at home. So how much do parents know, how much do they hide from Yuna, and how sad do they feel...... We've also set up all of these parts well. But none of that came to light. In the end, it's just the story of the 5-member group of the "Brave Division".

Kishi: Toona is just a very ordinary girl, really.

Q: So, please ask me about the puzzles left over from this story. In the second half of the last episode, there is a line in the wind that says "I was liberated from the sacred tree-sama", why were Touna and her people liberated?

Takahiro: This is something that I mentioned in some of the Gaiden works, but you can understand it if you read it.

Shang Jiangzhou: After all, Lord Shenshu is just a kind of black box of technology in that world. For example, if you can touch a part of the sacred tree, you can get some feedback by chance, and if you can make good use of the feedback, you can feel the blessings of the sacred tree. As for what kind of structure is the Divine Tree-sama and what kind of principle is it based on...... Since it is a god, then no one must be able to understand it. Because of this, Lord Divine Tree will also have some erratic behavior.

TAKAHIRO: Yes. Didn't Nogi also say, "God has such a side?" "This is one of my favorite stories this time.

Shang Jiangzhou: What we want to create is, in the final analysis, just the stories of the members of the "Brave Ministry". Therefore, I feel that if I talk too much about the composition of the world, I will be suspicious of adding to it. If there are other opportunities, I can introduce them.

Kishi: Human power is an amazing thing. If you can feel this through your work, I think you've achieved the whole goal. I think it is possible for human beings to transcend the gods.

Q: Did all the batiks who attacked have their own will and intelligence?

Kishi: If I replied rudely, "How can I sue you for such a thing!" (laughs), it's not good...... But seriously, regarding the structure of that world, our zuò team has already put all the hints that can be used into the work. Also, everyone who has seen this work, as long as you have your own feelings, it would be great. We set the world in detail.

Q: The local deities who are companions of humans gather together and are called sacred trees, so what kind of gods are they?

Kishi: I can't tell you about this kind of thing! (laughs) Reminders can be seen everywhere in the work. Wouldn't it be fun enough if people could think about "why the outside world is the way it is?"

TAKAHIRO: Yes. It is very rare that there are still many people who are investigating the works, and some of them have already found the right answer. So if people feel confident in their reasoning, then I'll be happy.

Kishi: You're there! You're talking about the right answer!

Kamieju: Ah, now the udon noodles are here! This is a good choice that makes people nostalgic for "Yuuki Yuna is a Brave Man".

Kishi: I see...... This is a challenge for us, let's determine what is the difference in the "meaning" of udon? (laughs)

Q: There are a lot of animations like "Girls Who Transform into Battles" these days, so did you realize any problems or importance when making zuò?

Kishi: Because it's an original work, and everyone has their own ideas, we sublimated everyone's imagination to create the shape of the work it is today.

Shangjiangzhou: This project is to make a transformation hero work. In the original concept, it was closer to a tokusatsu hero drama.

TAKAHIRO: Also, in the beginning, we wanted to create an atmosphere of "girls who fight desperately and will not give in even in adversity."

Aoki: We used the phrase "transformation heroine".

TAKAHIRO: It was like that from the beginning, so the look after the transformation was heroic.

Kishi: Yes. In addition, we have refined the design of "using flowers as an image". And Mr. BUNBUN, who is in charge of this, really has a very good skill. I can only describe it as "like" here!

Shang Jiangzhou: It's really amazing. It is precisely because it has become today's design that it can make people think of settings related to flower language.

Kishi: Also, personally, the setting of "Yuuki Yuna is a Brave" in the setting of "Mankai" and "Sanhua" is great.

Kamieju: This is the answer we got when we were thinking about Yuuki Yuna is a Brave Man, and we asked a questionnaire with children in their teens today. From the feedback, we got a lot of inspiration and wanted to make a story that had never been done before, so we came up with such a system.

Kishi: It's really a hellish system.

Shangjiangzhou: Originally, from the beginning, there was a setting that "one of the main characters is in a wheelchair", so the idea of the system has also been extended from this setting.

TAKAHIRO: ABOUT TOGO, I SET HER UP IN A WHEELCHAIR AT THE BEGINNING OF THE PROJECT. That said, everyone thinks that it is very necessary to be aware of the fact that this kind of setting is actually used in the work.

Shangjiangzhou: Yes. You can't create with a casual mindset. Once set up, we can't think of a wheelchair as a toy. For this reason, we have incorporated the environment related to today's wheelchairs into consideration in the process of making zuò.

Q: So, I would like to ask you a question that is of greatest concern to you right now: Will there be any new developments regarding "Yuuki Yuna is a Brave Man" in the future? I'm very concerned about the "Yuna no Chapter" that appears at the end of the anime!

TAKAHIRO: Yes, because of your support for us, we were able to let people see the story that has developed to this point. If you can support us even more and more, then maybe you can see a lot of plots!?

Shangjiangzhou: Please be sure to recommend this work to your friends! And everyone must enshrine this work! (laughs)

Q: Finally, would you like to say a few words to all of you who support Yuuki Yuuki is a Brave Man?

Shang Jiangzhou: Yes. I'm so sorry that "ぼた餅" didn't become the winning catchphrase in the 2014 Buzzword Contest (laughs). Putting these things aside, I'm very happy that the production of an original anime has received such a big response. I really feel that there are so many people supporting this work, and that's something that makes me feel so happy.

TAKAHIRO: This is the first time I've been involved in the production of original anime from the very beginning. Therefore, there was a lot to learn, and there was also the help of the staff in the system. In addition, from the time the title of the work was released to the end of the broadcast, many people became interested in the work and supported us. I really can't express my gratitude to all of you. I think it's because of you that this work is possible. Thank you very much!

Shang Jiangzhou: So, let's summarize it! (laughs)

Kishi: Yes, the world of Yuuki Yuuki is a brave man will continue. Speaking of which, we have created a whole world in the process of making zuò, so in the world of Yuna and their people, time will still go on.

Shangjiangzhou: It's like we've written a rulebook for a tabletop role-playing game.

Kishi: That's right. So if you can unpack the structure of the world one by one, then I'll be very happy. Even for us, I felt that it was great to be able to make a work that everyone could enjoy the world view. Also, I am very grateful that everyone can love Touna and others who live in that world.

TAKAHIRO: I really did my best. It's not easy.

Shang Jiangzhou: On the contrary, when making an original work, it is not feasible to conceive the worldview in this way. I really feel about it. But it's great to be able to come up with a world like this.

Kishi: Yes. If you can still enjoy Yuuki Yuna is a brave man in the future, then we are always ready. Please continue to support "Yuuki Yuna is a Brave" that will continue to develop in the future!