Animation director Hiroshi Yamamoto, known as "Uncle Kuan", has been associated with the names of many works, including "The Melancholy of Haruhi Suzumiya", "Lucky Star", and "Kaminagi". This year's WakeUp, Girls! It also sparked a lot of topics. Recently, some Japanese media conducted a long interview with him, in which Uncle Kuan confided his views on the animation industry. Let's take a look at the text!

Whether it's an industry insider or an anonymous "certain person", it's all the same on the web

Q: First of all, you started giving up using Twitter on March 12 of this year, right? Can you tell us more about this?

Yamamoto: I'm an internet victim who gets uncomfortable if I don't express my opinions online. At first, he started with the animation review website "Delusional Notes" and expressed his opinions in the form of HTML tags. After that, I shifted my focus to blogging; Then I gave up blogging and started using Twitter. During this time, I also got some related email magazines...... Anyway, if I don't say something, then I won't stop. That's who I am. When I was a blogger, I was working on Fractals (2011), and I was so sick that I was depressed. The comments section of my blog was full of comments like "Don't be a director," and I replied, "Ahh Of course, the producer was very angry and said to me, "How can you give up!" "Eventually, I was still working as a director, but I didn't blogging anymore. After that, the same was true on Twitter, and the whole environment was "if the target is Yamamoto Kan, no matter how you spray him, it won't be a problem", and people in the industry are also chirping crookedly. Probably the biggest reason I gave up using Twitter was that I had "nothing to say" in the face of these people. You see, this can't be helped, no matter what I say, they will see it as "Uncle Kuan is biting people and spraying again" (laughs). Oops, even though I thought to myself, "It's you guys who are biting, right?" "But I'm tired of this kind of mutual spraying from the bottom of my heart.

Q: So, what happened after you abandoned Twitter?

Yamamoto: At the time, I thought that people who could meet face-to-face should still be able to communicate, so I started using Facebook again. After all, what I've learned from Twitter is that I can't communicate with anonymous people who don't see their true faces. I was really stupid and naïve, and secretly thought in a corner of my heart that "as long as you communicate carefully, then there will definitely be a day when you can communicate with everyone." "At least people in the industry should be able to understand me...... But such a trivial expectation was completely crushed. Whether it's an anonymous person or an industry insider, it's all the same. I found myself unable to communicate with them. I sorted out my thoughts and contexts, and tried to talk to them with logic, but in the end, it all ended up "feeling extremely unhappy". I didn't mean to target anyone, but they all said, "Uncle Kuan is here to spray us" (laughs). That's too much self-awareness, isn't it?

Q: Is the person who has the reaction of "Uncle Kuan is here to spray us" a person in the industry?

Yamamoto: There are anonymous people and people in the animation industry. However, people in the industry are fundamentally dead houses, so I'm afraid this is also something that can't be helped.

The animation industry is "boring" full of "giving up"

Q: From Director Yamamoto's point of view, what is the animation industry like today?

Yamamoto: In a word, it's "boring". Whether it's watching animation works or talking to people in the industry, it's very boring. Those producers follow the advice of the trolls all day long (laughs). At the party, especially when drinking with the director, it felt like they all exuded an atmosphere of abandonment, and including this atmosphere, everything was boring. I think even if they complain and say, "You have to do something for this industry!" And then it's not bad to keep your head down, but they tend to have a "look, there's no way to do it......" and the conversation doesn't work. It's these people who are ashamed to say "I love anime culture" in public, a bunch of liars (laughs)! And because I have seen and heard their words and deeds, I feel that the industry itself is boring. Nowadays, there are only a handful of people who can drink happily with me, such as Nobu Itagaki and others.

I don't want to say, "It was nice in the past," but the industry 10 years ago was not as enthusiastic as it is today. Today's industry is really tied down by sales numbers. Or rather, being chased and beaten by the numbers behind. In order to create the numbers, they said, "This can't be helped," and then made some animations that they didn't want to make. In the past, even though I knew that animation would not sell, people still created it with enthusiasm. Even if it's a work that can't be sold (and this doesn't mean mine, of course), all the members, including the producers, will do what they want while complaining "bastard". Because in them, there is the conceit that "we are making interesting works". This pride has even been infectious. Voice actors also consider it an ideal to secretly participate in a celebration of this kind of work.

Q: In order to create an animation production site that can realize this ideal, it must be important to choose a good staff.

Yamamoto: Of course, the staff is to be chosen. The producer will select the personnel needed for the work based on factors such as "need for this style of painting" and "need for such talent". Of course, after all, those who read the comments on Twitter and think "Uncle Kuan is really bad", I naturally want to avoid them. Only those who think "Uncle Kuan is not so scary" will invite them to "make a work together". So, on the one hand, I'm choosing, and on the other hand, the other side is choosing. That's the relationship between the so-called staff and me. As for whether they agree with me or not, I will not consider these questions.

Q: Would you like to maintain this atmosphere in the production of your works in the future?

Yamamoto: Absolutely. Although some people may complain and say, "Aren't the people you found all YE**AN?" "But that's true, if I don't gather such people, I can only feel depressed (laughs). This kind of thing is taken for granted, and I won't say anything nice to cover it up. I THINK THE SO-CALLED YE**AN IS A SOPHISTRY INVENTED BY THOSE WHO ONLY CARE ABOUT SPRAYING. However, when I gave up using Twitter, I felt that all the major events in the world and public opinion had been left behind. From now on, I've decided to only think about things within a radius of 1 meter.

The so-called awareness of animation is perseverance

Q: You've been looking for someone to talk to since you were blogging and tweeting, but with the people gathered in front of you today, you've realized that dream more or less?

Yamamoto: Not only the staff, but also WakeUp, Girls! The time. Although this work did not attract too many people, there are still some fans who will never leave. It makes me happy. In the past, fans of my works often chose to remain silent after the anime started. Especially in "Fractal", all sides stalked me like locusts, and it was difficult to see positive opinions in this environment. In recent years, it is estimated that the limelight has passed, and I finally have some voices to support me. But WakeUp, Girls! is different, when it was broadcast, a group of enthusiastic people said: "Although Uncle Kuan is always sprayed, I like this work very much!" "That's probably because WakeUp, Girls! "It's because of idol animation. The so-called idol fans are once they decide to enter the industry, then they will definitely stick to the last group. So in a sense, WakeUp, Girls! The approach is a bit laid-back. It's as if taking idols hostage and asking them, "How, even so, are you going to spray me?" "It's like (laughs). Even if you remove the factor of Uncle Kuan, "WakeUp, Girls! There are still 7 girls left, so fans will chant "Fight hard for these children!" "Then follow left and right. Therefore, I think it would be a good choice to work for the sake of these gathered fans now. Because I'm tired too.

Q: What are the main areas where you feel tired?

Yamamoto: Hmm...... I often say to people in the industry, if I'm doing something wrong, tell me. If I'm really wrong, I'll correct it, and I'll apologize. But after saying that, everyone remained silent. Their point of view is "Uncle Kuan, this kind of person, it's a vain ...... to say" In the face of such a state, I also feel very pressured.

I'm 40 years old, and I'm not young anymore. It's also the most important age in the industry to work hard, and I'd like to express my opinion on the future of the animation industry. I'm not going to shell specific individuals. After all, there is no point in doing even these things.

Q: I think all Japanese people are used to the "squirting/being squirted" relationship.

Yamamoto: If a young member of the Diet says, "Now Japan is finished!" Then there will be warm applause. But if a young animation director says, "Now animation is over!" "Then you'll be sprayed" actually said such a thing!! "Those who are responsible should be responsible for putting forward their opinions. …… There are too many dead houses in the animation industry, so the color of the delusion of victimization is also very strong.

Q: Is this an inferiority complex for them in the real world?

Yamamoto: I didn't think about "let's work together to protect the animation industry." It's just that they never want to exchange opinions and ask questions from society. These are things that any industry should do. But because they're dead houses, they can't.

Q: Are otaku not good at face-to-face discussions with other people?

Yamamoto: Well, occasionally someone in the industry will say to me, "Uncle Kuan, you can stop in moderation." "But as long as we can meet, then we can get close, so it's still a good thing. …… They don't usually do that, and some of my acquaintances would stab me in the back and pressure me to "don't work for that guy" (laughs).

Q: Can you tell us about Kyoto Animation?

Yamamoto: Yes, I'll answer the questions I can (laughs).

Q: I think you've been receiving mixed reviews since you were dismissed as a director in Lucky Star (2007).

Yamamoto: When I was first fired, I used my blog as my main platform to justify it, saying, "It's not my fault that I'm fired." "Look, isn't that what a victim looks like? In fact, if I say "I am not good" and then arouse the sympathy of the "judges", then it should be more advantageous. Should I say that I was too stupid or too stubborn, just thinking about it and saying, "What the hell am I wrong?" "That's a failure.

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Q: In retrospect, does this self-justifying attitude make you feel like you did nothing wrong?

Yamamoto: Yes, I don't think that's wrong. Because I entered the animation industry with the consciousness of "the ambition of the bird". As an enlightenment, it is to consistently express opinions on animation. Now I'm re-reading what I wrote in the web era, and I'm like, "I've really said something great" (laughs). My axis will not waver.

The only change is that there will be no naming and commenting on specific works. At one point, I serialized some reviews of the theatrical version of the anime in "Adult Animation" (Yosensha)'s "Delusional Notes Trip Edition". When I was writing a review, I suddenly realized a problem: no matter what theatrical version of the animation is, it is half a pound. In the past five years, animation has also undergone fundamental changes.

Q: As you said, the animation industry is starting to focus only on numbers?

Yamamoto: On the one hand, the industry is starting to be afraid of comments on the Internet. People are really scared of troll sites (laughs). No matter what kind of work, I'm worried about numbers, I'm worried about online reviews, so I won't list the titles of the works for review. All the animations have become the same. Of course, there are also good works born once in a while. My love for director Hayao Miyazaki's work never fades, and I was deeply impressed by Yasuhiro Yoshiura's PATEMAINVERTED.

Q: Because any anime becomes indistinguishable, did you give up serialization on "Adult Anime"?

Yamamoto: I can say that it is one of the reasons. In addition, I have a different philosophy from this publication. There was a slight argument (laughs).

I'm not interested in "joining in the fun" anymore

Q: Nowadays, you are more focused on the production of your own work than you want to do something in the industry as a whole, right?

Yamamoto: Because I gave up Twitter, I got a lot of praise from everyone. And if this thing can make the people around you happy, then giving up is also a good thing. For the industry as a whole, I don't know what's going to happen to the road. …… That's why I don't always participate in events like "town ★ cruises".

Q: The "town ★ parade" you mentioned is a large-scale carnival related to anime held in Tokushima Prefecture, right?

Yamamoto: The producer of "Town ★ Cruise" is Mr. Hikaru Kondo, who is someone I admire and respect very much. So, if Mr. Kondo invites me in the future, I'll go too, but I don't really want to go there from the perspective of "joining in the fun." I'm not interested in events like "secret dialogue shows for industry insiders" anymore. After all, it's impossible to say anything in-depth on that occasion.

Q: So, because you admire Kondo producers, you have the feeling of "providing support to the people you admire", right?

Yamamoto: Of course, there are reasons for that. After all, if it was just a reason for people from the industry to gather there, I wouldn't have thought of leaving. I envy Mr. Kondo. It's really great to be able to make the "town ★ cruise" so lively in a local city like Tokushima City. I want to learn from him too. It's just that I don't think it matters at all about the atmosphere of "if you're an industry professional, then you should definitely attend this event."

Q: Before this event, did you feel that you couldn't get along well with people in the industry?

Yamamoto: Yes. Especially when I first came out of Kyoto Animation, I thought I had to bow my head and apologize to people from all walks of life. However, I also knew that I wasn't that material at all (laughs). Oops, it can't be done. I was very disgusted by the way I spoke, "Look at the occasion" and "Do you understand it?" As a result, it gradually became difficult to contact them.

Q: But from Director Yamamoto's point of view, you still speak with logical thinking, right?

Yamamoto: That's what I'm going to do. I will not speak purely emotionally. I just kept thinking about "I have to change the status quo" and then I spoke. I believe that my speech will reverberate in the industry and change something. That is the purpose of my statement.

Q: Do those who bite Director Yamamoto also have feelings of same-sex rejection?

Yamamoto: I feel it too. I'm an otaku myself, so I have two thoughts about otaku: "I'm happy" and "I'm disgusting". Because of this, half of the people who bit me thought I was a "really disgusting guy," while the other half thought "Aren't we companions?" Admit it." When I was in high school ~ college, director Hayao Miyazaki and director Hideaki Anno both wrote some radical articles in anime magazines.

Q: They are harsh critics of anime fans and otaku.

Yamamoto: Yes, I also resonated with the speeches of directors Miyazaki and Hideaki Anno when I read them. Although the words may be a little excessive, their criticism of us otaku makes people feel like they "have to admit it from the heart...... This is what my generation reads with this point of view. After that, I'm afraid that because of the Internet, the animation speech has also changed. 2CH used to be an idyllic world. You can praise or criticize the work and have a debate on it. And now it's just a troll stronghold. After all, it's anonymous on the Internet, and you can write anything. Why do people become so aggressive once they are anonymous...... I really have doubts.

In today's society, the status of the animation industry is very low

Q: Director Yamamoto's words and deeds are very public. So is it being used as a target?

Yamamoto: Well, I also have my own reasons for becoming a target. Still, how to say...... It is as if a person who looks ordinary when he is face-to-face seems to open up a new personality at the moment when he can be anonymous. Also, there is a reason why the words spoken are different from the words that are written. I've often been told, "Director Yamamoto's words would be quite violent if they were put into words." The content of what is written is the same as what is said, and I even think that when I speak, it is even more uncomfortable to listen to. Therefore, unlike handwritten letters and briefs, it is difficult to convey ideas through words on the Internet. Neither I nor the people who attacked me communicated through words. As a result, communication can only become full of negative energy. If such a misunderstanding is only between anonymous people, then it can only be said that there is no way to do it, but even those peers cannot communicate through the Internet, so this is ......

Q: In the animation industry, there are people who can't communicate with people from other professions.

Yamamoto: Well, yes...... I'm wondering what could have come to be like this. In this world of "drawing" business, there may be some fundamental problems. If you ask Pixar and Disney, are they very serious? Actually, that's not the case. Including me, people who make money by painting are not serious people. After graduating from such a university (Kyoto University), my parents wanted me to find a regular job. And when they say, "I'm working at an animation company," their expressions ...... I can't forget it to this day (laughs). Therefore, in the current social environment, the animation industry is abnormal. In ancient and modern times, people who engage in skills have always been at a relatively low level, right? Even in the future, it will be difficult for artists to surpass that of ordinary office workers.

Q: That's why you need a director who can bring people together, isn't it?

Yamamoto: Well, that's right. In the U.S., there are people who call for defending the status of animators, but I don't really believe in those voices. At least in Japan it is impossible to defend.

Q: What do you think will happen if your remarks are posted on the Internet today?

Yamamoto: In interviews like today's, I'm straightforward. However, I believe that this interview will be uploaded to some troll sites soon, right? In this case, it is equivalent to the previous thing repeating itself. It doesn't really make sense. Today I'm just retelling with my mouth what I've muttered hundreds of times on Twitter. It's just that Twitter's 140-word limit is a bit of a hindrance, and some of the content needs to be copied and pasted elsewhere for distribution.

Q: Will it still be the same as before? Someone once picked a picture from a 12-episode series and commented on it casually, could that happen?

Yamamoto: There is such a thing. I cut down the worst picture of my painting and shouted "The painting is broken" and made a fuss (laughs). 《WakeUp,Girls！ Although the painting is not very good, some people only take out the broken pictures and emphasize: "This is a terrible painting." It's like the phenomenon of giving up after only watching one episode, but I think it's understandable. But isn't there now that some people use "I watched an episode and got in the upper right corner" as a kind of bragging rights? Some of the content is interesting in the process of plot development. Whether I watch anime, TV series, or movies, I like to start in the middle. Because if it's an interesting work, it's just as interesting to look at it from the middle. The most recent work is "LegalHigh" (2013).

Q: People believe that if you don't start watching the first episode, you won't be able to watch it.

Yamamoto: That's why the latest anime has put everything that can be stuffed in the first episode. If you don't carefully tell the audience that "this girl is the protagonist, the character is like this, and the setting is like this...... then the audience will ignore it. Perhaps this is also due to the audience's reduced ability to understand.

Anime fans used to be "lonely beings"

Q: During the Great East Japan Earthquake of 2011, did you volunteer in Miyagi Prefecture? Do you want to create animations while also being in constant contact with reality?

Yamamoto: I don't think animation is just a means of escapism. Of course, no matter what kind of entertainment, it can make people feel like they are escaping from reality. However, when it comes to animation, if you keep running away, you won't be able to come back (laughs). This tendency is very evident in the medium of animation. Therefore, I want to build a bridge where "it's okay to escape from reality, but you have to come back." At the same time, I also felt a sense of responsibility. …… Speaking of which, I also portrayed the "joy of escapism" in "The Melancholy of Haruhi Suzumiya" (2006) and "Lucky Star". In other words, it describes a kind of "pleasant feeling that never ends". I'm also responsible for that. And in order to make the work "no longer a solo game, but a tool that can be used to communicate", then I will still affirm the current situation of 2CH and Twitter gathering and discussing. But what am I doing......

After all, is animation fans a kind of self-appreciation? In the past, they didn't care about popularity, they had more expertise than anyone else, and they knew more animation works than anyone else, so they could prove their "superiority". Nowadays, if you don't watch the same anime as the people around you, you'll be left out in the cold. When people gather together, they simply share information with everyone to achieve a state of mental satisfaction.

Q: You are 40 years old this year, so do you want to have a say in the industry in the future?

Yamamoto: No, I gave up before I pursued this kind of discourse. Seriously, I don't know what I'm supposed to do. If you have to say it, you should watch WakeUp, Girls! What will happen to you? How far can this work go, and what impact can it have on the industry and beyond? I'll start with "If WakeUp, Girls! If it doesn't work, then I'm helpless at the moment."

Q: Do you have a personality that usually doesn't give up until the last moment?

Yamamoto: No, not really. After all, if you bet your life on "War Bravery. ", then the stakes are a little too heavy (laughs). Of course, this kind of work can't be made with a relaxed mind. However, I would like to make a biographical work in the future. As for whether this dream can be realized, it is still unclear. It's up to you to support me.

Q: Of course I would support it, but it seems that it is easy for people to complain about Director Yamamoto.

Yamamoto: After all, I'm the type of character. It doesn't matter if it's just to play tricks on me, after all, I'm from Kansai. But I think it's better to pay attention to the tricks...... (laughs)