―― "Revolutionary Machine Valvrave" producer zuò talks about the birth of the work

The new "Revolutionary Machine Valvrave" has been broadcast for three episodes.,As the original new episode of the Sunrise Society's spring.,The first two seasons of the work, the female number one completed the feat of "receiving a bento" and "spitting a bento".,And the work has been determined to be divided into two parts to make zuò (similar to CodeGeass and Gundam 00). Let's take a look at the article translated by theorpheus: "The Secret of the Project of the Revolutionary Machine Valvrave: Makers Talking about the Birth of the WorkHiromi Iketani (SUNRISE) × Hiroo Maruyama (MBS), which will give you a better understanding of the work.

From 25:35 on April 11th, the TV anime series "Revolutionary Machine Valvrave" began to be broadcast as the beginning of MBS (Mainichi Broadcasting) TV's "ANIME-I**" program.

In the 71st year of the true calendar, when 70% of the total population lived in the universe, Haruto, a high school student who met the mysterious humanoid weapon Valvrave, was swept up in the huge torrent of the world...... This is the ambition of SUNRISE, which created a large number of SF ROBOT animations, to show the world.

The charm of this huge project can be seen in the large collection of powerful people who are famous in various occasions, such as the director and Matsuo Hiroshi, the chief screenwriter, the first floor of Okochi, the original art of the first-time characters, the mechanical design, the music, and the actors.

How did a project like Valvravave come about? What is the highlight of the work? Regarding the upcoming works, we interviewed Hirotomi Iketani zuòto (SUNRISE) and Hiroo Maruyama zuò (MBS), who held mid-level positions.

――What was your experience with the start of the project for Valvrave?

- Hirotomi Iketani (hereinafter referred to as Iketani)

I've been in the animation industry for decades, and many people I've worked with have told me about "I want to animate."

And there are a lot of opportunities to hear "If you want to do it, it's going to be SUNRISE", and this time I want to make a mecha animation that purely interests the audience. This was when this idea came to mind.

――Maruyama Hiroo tsuò (hereinafter referred to as Maruyama)

My first work was Mobile Suit Gundam SEED, and after that, I worked with Mr. Iketani on Gundam OO, and I also worked on several SUNRISE animes. In addition, I'm also an animation fan personally.,In short, I'm quite addicted to machine qì animation.。

Luckily, when I participated in a variety of works, I learned and was moved again and again, and there are countless cases. Just when I thought about making effective use of the valuable things I had learned in this way to participate in the original animation production, several contemporaries with the same idea got together, and the project naturally began.

It took a lot of time and effort to prepare for the original animation, so it took almost three years from the establishment of the project to the broadcast.

――What was the decisive factor in the decision to appoint director Hiroshi Matsuo this time?

-- Iketani

When it comes to the production of machine animation, the most important thing is the mechanical depiction, so I wanted to entrust this project to a director with passion and experience.

Mr. Matsuo worked as a full-time mechanical scene instructor under director Yuki Tomino in the movie version of "Z Gundam". Later, in the work "Model Warrior GUMPLA Builder", which has a somewhat different style, he also made interesting mechanical movements and presentations himself. In addition, in terms of the plot line, he is able to make the characters really fine movement and accurately express the atmosphere of the scene, so that the work gives the impression of leaving appropriate "space" where necessary and carefully handling the atmosphere of the scene.

For an animation like this one, which has the characteristics of a group drama, Mr. Matsuo is very trustworthy when it comes to depicting "people coming", "worlds", and "machines".

――For the animation of the machine qì people, it can be said that the machine qì people can also be said to be a necessity that symbolizes the world view of the work. This time, Mr. Ishiwaki was in charge of the design of the lead machine, but was this the result of the selection?

-- Iketani

Yes. We received feedback and impressions from everyone, and after the results of the selection, we decided to use Mr. Ishiwatari.

Mr. Ishiwatar's design idea is to incorporate many elements: if there are fresh elements, there will also be a sense of nostalgia; On the one hand, there are fancy stunts, and on the other hand, there are gorgeous parts. It's important that such a multifaceted image is a design that attracts the audience.

-- Maruyama

I think that's really hard to do. Personally, I would like to see that this machine design will be able to create more freely for all kinds of people, regardless of gender, young and old.

Not only for those of us who love machines, but also for those of us who don't usually watch the animations of the machines, if it can also interest them, even if it is just an opportunity for them to be interested, it is already a happiness for me.

This work is made by combining the opinions and preferences of many creators and staff members of different generations and different experiences. How will you understand this mixture? There will be some uneasiness, but I also enjoy the process.

Director Matsuo and chief screenwriter Mr. Okochi also listened to the different ideas and preferences of the staff members once, so I have nothing but gratitude [for them].

――So, you realize the preferences of various people as works?

-- Maruyama

That is true. In short, the many staff members who wanted to make the animation tried to come up with their own hopes and wishes, such as "this kind of mechanical effect is fun" or "I want to see the scene of the character", and then the director and Mr. Okochi made a choice. This kind of work had to be repeated over and over again in the first stage of script writing.

――On the other hand, Katsura Hoshino, the author of "D.Gray-man", took on the original design of the character, which is also attracting attention.

-- Maruyama

The original motivation was that there were people on the staff who liked D.Gray-man very much, and it was really the majority. In addition, in connection with the topic just now, this work does not take into account a specific target group, and I hope that everyone who likes animation can also enjoy the work.

Hoshino-sensei has been serializing in shonen manga magazines for many years, and has drawn manga works that can be enjoyed by readers of a wide range of ages and genders, so I wanted her to draw original characters with the same theme as this work. In addition, there are not many images related to "universe" or "machine" in Hoshino's works, but I am simply curious about how the genre of machine animation will merge, and I want to see it.

-- Iketani

Although the number of characters is large, when the closely related personalities of each one are highlighted, I can't help but feel really powerful.

In fact, Hoshino-sensei himself seems to have worked on the anime scene before he started drawing manga. What's more, when I asked Hoshino to control the number of lines in my paintings, director Matsuo said, "You don't have to worry about that." It was in the midst of this controversy that we were able to achieve a perfectly balanced design line, I think.

――What is the current state of the system?

-- Iketani

In the case of pre-recording, it is after the first playback unit (1 playback unit = 13 weeks) is completed. The on-site work after the original painting is still in a state of racing against time and desperately making zuò. In order to try to catch up with the momentum and rotation of director Matsuo, various characteristics can be shaped into the form and carried out the system.

――What is the development plan after the "first playback unit that you started"?

-- Iketani

The mysteries that entangle the world and the attempts to unfold in a huge story, and the many characters that appear in the world, we aim to do such a work. To accurately depict these, the length of the 2 playback units is necessary.

This time, the staff of the relevant departments have been working hard to make the production of the zuò in all aspects, and the production itself has taken a lot of money and time, and it is really difficult to play the two playback units continuously (for us...... The graphics and CG parts will also be produced solidly before being shown to the audience, so this time the first broadcast unit will be vacated for three months after the end of the broadcast, and the second broadcast unit will start broadcasting again in October.

I'm really sorry that there is a three-month vacuum period, but during this period, the film itself that is about to be completed and the response from the audience will affect the production schedule, so the second half of the work will also affect the playback unit. I think this kind of chemistry will have an interesting effect on the film.

――Finally, would you like to say a few words to the audience who are eagerly awaiting the screening?

-- Maruyama

Regarding the theme of the work, I think that people who watch it will have a different view. Personally, I would like to be able to depict all kinds of people, which is very good.

This work has a part of the content of the group drama.,So there are a lot of characters who have completely different growth experiences and ways of thinking from each other.,The story also starts with an encounter between two opposing people, "student" and "soldier". Even if the same event happens, there will be different feelings and actions accordingly, and the content of the different human nature of these characters will be well expressed in the work.

However, the viewer will say something like "I like the character" or "I don't like the character" (laughs), so I would be glad to be able to enjoy watching the anime while chattering. I'm really sorry because it's a late-night broadcast, but I want to recommend watching it in real time if you can.

-- Iketani

Although it is a work made by a staff member who has the desire to "want to make a machine qì animation", I am thinking about it anyway in anticipation of the weekly anime. If you have to say something, that's the first place.

"How will the story develop next time?" he thought, and simply waited for it. It's great to be able to animate like this.

Anime！ Anime！

For both viewers and makers who like animation and mechanics, it would be a blessing for everyone to be able to make this anime something like a sand where you can make games. In addition, the scene effect from the hand of director Matsuo, who has both machinery and character tables, is also one of the highlights.