Evangelion at 20 – That (Brutal) Age


Being young hurts. Never let anyone tell you different. We can wax nostalgic all we want, but youth is the place where all the muscles get their first taste of resistance in the form of daily life. From lessons about co-existence to the heartbreak landmines one must endure, it’s no wonder so many retreat headlong into realms of fantasy. It’s a fundamental reaction to a sometimes relentlessly harsh world, devoid of many things to depend on. It is this core truth for so many that lies at the heart of Hideaki Anno & Gainax’s great claim to fame. Looking back two decades into not only Evangelion’s strange, and world-altering history, but also of my own personal tumult, it isn’t hard to see why it all mattered so much when it was first unveiled upon an unsuspecting public in the fall of 1995.

I can spend erudite paragraphs extolling the virtues of this still celebrated and debated piece of anime iconography, but it felt like something more was required. After all, art tends to connect best with a public that is ready to embrace it. So many factors play roles here that it can often be dizzying. But the goal here is to help best understand what happened so we can at least cursorily chart what has happened since. So with this in mind, let’s look a little into the era which inspired the series, and perhaps unearth why it still connects so well with old as well as young fans. Unexpectedly, or perhaps expectedly if you are sensitive to the state of the world, the realm where we should most prominently look is no further than economics.

It’s often bandied about on many a Japan enthuisast’s site that the 1980s was a time of economic potency. Credit had become shockingly easy to come by, and the banks didn’t seem too concerned about quality. And access to even shades of the high life seemed within reach for many average families. So when things took a turn for the worse come the end of that decade, and a malaise began to set in come the early 1990s, it was in many ways a crushing spiritual blow to all who had grown accustomed to that level of plenty. Notions of familial expectation were raised, only to see these notions come to a halt when the youth of that era saw harder times, especially in regards to employment prospects. Not unlike the effects of the Stock Market crash of 1991, the idea of growing up between expectant parents and the realities of the world outside began to gleam like a sun impacted prism. The break between adults and kids found itself burrowed deep within what the US experienced in the Seattle grunge music scene. After all, what was the point of a future if it was so out of reach?

Such notions were not lost on other forms of art, such as in film and animation, which suffered immense blowback from the ensuing loss of production funds. No strangers to such concerns, was the fledgling anime Studio Gainax, who had been practically buoying themselves to safety since the middling box office of their robust raison d’etre in Royal Space Force (1987). After having entered the direct-to-video market with titles like the jiggle-parody-goes-space-opus, Top Wo Nerae! Gunbuster(1988), and their risky, self-shotgunning pseudo parody Otaku No Video(1989). And soon after, riding the NHK train with the Jules Verne & Miyazaki hybrid, Fushigi No Umi No Nadia(1991), the limping bunch of ragtags with “no business sense”, found themselves in need of a hit. And badly so. Enter, Neon Genesis Evangelion. A title shrouded in veils of so much mystery, that it could only spell disaster from opinions inside and out.

It’s completely needless to elaborate what happened afterward, but it might be good to consider the implications of Evangelion’s arrival, and what has come in the wake of it. Twenty years of anime bubbles and bursts, twists and turns, often reaching to the best of any studio’s ability to harness some of the show’s all consuming fire. Despite chasms in budgets, and often harshly idiosyncratic turns by established icons, few to no series reached such thematic highs. It was, and continues to feel as if Anno’s rollercoaster met a collective wavelength that had little to no room for other serialized series. All it took, was a creaky premise, stark portrayals of archetypes that would inevitably become a license to create thousands of merchandise-worthy knockoffs, and an unerring sense of synergy with the minds behind it. Anime, had suddenly become the mirror image of a once high society’s less considered population. At long last, the disenfranchised youth of a hard driving, win-at-all-costs generation found itself an identifiable icon, and a punching bag for those less willing to acknowledge it.

Shinji, for all his emotional instability and sullenness, is the part of us that we often shove in a broom closet for fear of feeling disposable.

So when the series’ still-debated finale came to pass, to the often exasperation of a first wave of disgruntled internet fans typed furiously. In a great many ways, it was the first show of what would become a cliche in the fandom today. To this day, there isn’t an hour that doesn’t go by where some Twitter war has trails of smoke coming off of my feed, or memes concerning what character trait is the most chuckle inspiring. Yet few television shows have created such a ravenous fervor to the point that the chance opportunity to produce a feature film rendition of the finale would be a blood-smeared retort the likes few franchises have ever inspired. The bile of the complacent fan was about to come face to face with the full-fisted reciprocity of the medium.

All things on the table, for me ,Evangelion ended with the now-laughably titled, The End Of Evangelion (1997). A film that takes the Up With People finale of the show, and vomits it back in fans’ faces. An alternate ending that reduces the heroes into something a lot less palatable, and without redemption. And while other shows have tried valiantly to play the “fans have no idea” hand, rarely has it ever been so eloquently executed. Beyond the works of Tomino, and various others, EoE forces viewers to face these less than flattering elements, and to decide for themselves or not to proceed with the attitudes they espouse so heavily in their incessant commenting. It remains my personal favorite ending, not so much because of its overwrought nature, but it’s will to lay an entire mythos on the line for an exploration into the grandest question of all..

“Why the hell am I here?” – Without offering anything clearer an answer than, to grow.

Beckoning the public to not allow themselves to be prisoners of their own despair seems to be at the core of the best Evangelion has to offer. Any “deeper” interpretations feel lacking to absurd in comparison. What many imitators failed to understand about it was that underneath all the gloom & doom, lies a sincere leveling. Using a largely escapist medium the way it does can be considered verboten, even today. And yet there it defiantly remains. The show understands that youth is but a temporary place, even as so many of us pretend that we never left.

Growing up over a hundred miles from any city in either a northern or southern direction, couldn’t not have a profound effect on how a younger me viewed the world. Being from a desert area, where the expectations for a local kid were to either become a fixture in the local resort industries, or escape at the earliest opportunity, it was easy to find onesself locked in one’s own mind. Unable to connect due to a certain lack of philosophical diversity, and an overall state of economic gridlock, seeing past the world presented, made it hard to envision possibilities, let alone feel motivated to change anything. The pressure did not come from overbearing parents, but of a location’s disgust for its future generations, and a nostalgia that bordered on toxic. But as long as many of us desert children were able to embrace the arts in one form or another, and not find ourselves in the throes of early parenthood or chemical addiction, hope seemed to at the very least be a flat tire fix for a realm rife with shattered glass filled ditches.

But art & words remained my sanctuary, and continue to help shape who I will become, even as these forces can continue to beckon me into a form of submission. One can either be dictated by your passions, or sparked by them. Addiction beyond those that plague our veins is a very real thing, and it can be hard to consider the world and its ever illusory weight. But looking through the very works that helped us process our mutual evolutions rather than ensnare them, shows like Neon Genesis Evangelion remain powerful because they speak to difficult trials many of us face during that most challenging of life periods. To acknowledge the abyss, and to allow onesself to be transformed by expression, is one of the great gifts that art can provide. Being a kid is fucking brutal. Especially when one has little to no what to process what is happening all over. Thankfully, even an often derided form of entertainment can cast a healthy light to help all this madness make a lick of sense. And for this, I am grateful for The Children.


Upon starting this piece, a part of me wanted to talk a little about the Rebuild feature films, when it hit me that the films themselves seem to be less about character, and more about the series as a whole. Which creates something of a distant echo. Something that works more on a curator level than on a personal one. And while that has its admirers, it simply lacks the cutting immediacy and urgent voice. So, forgive?

Interview: Ayano Mashiro

Ayano Mashiro is a young singer who has come onto the anisong scene in just the past year. She is best known for doing the first OP to Fate/stay Night: Unlimited Blade Works, “ideal white,” as well as the OP to Gunslinger Stratos, “Vanilla Sky.”

We interviewed her at Anime Expo 2015. Jeremy Booth conducted the interview except as noted.

How was your trip here to the US?

I took a flight out of Sapporo to Narita [Airport, in Tokyo] to LA, so that was quite a long flight–probably the longest I’ve ever taken. The last flight I took overseas was to Singapore, and it was only an hour’s [time zone] difference…but from Tokyo to LA I believe it’s a 16 hour difference, so I was really scared about the jet lag. But here I am!

What made you decide to become a singer? What was the moment where you decided, “I really want to sing”?

I’ve loved to sing since I was little, but I was taking piano lessons when I was a kid. At my piano recital, I was a weird one–I had my piano teacher play the piano while I sang. This made me kind of think “this is fun!” being on stage, singing lyrics to an audience. It was a mind opening moment.

It’s a good feeling being on stage, isn’t it?

Actually I do get nervous on stage, but I’m more hyped than moved being on stage these days.

Talk to us about your hometown, Sapporo. Is there anything that you really miss and look forward to get back to when you travel, like food or something?

Where I’m from, the seafood is very famous, and I like sashimi…so I miss fish in that way. The second thing is ramen, and I’ve only been to two overseas cities, but I Googled to see if there were any ramen places nearby….I was surprised at the portion sizes and how large they were. I had fish and chips last night and it was humongous.

Who do you think has influenced you most in your music?

Growing up, I listened to a lot of anime songs, and my sempais like Eir Aoi, Maon Kurosaki…I listened to a lot of their music. But I like to listen to a lot of genres to expand my musical palette.

Talk a little bit about any other hobbies or talents that people may not know about or expect. 

I’m a big fan of spicy food, and I like to challenge myself on how far I can push the limits of spiciness!

What do you like about Yowapeda, the bicycle anime? Do you have a crush Onoda Sakamichi?

Yes! When you listen to the lyrics of the show’s song, it fits into Onoda’s character…it’s like he’s working towards his dream, sacrificing anything for what he wants to achieve. That’s what I like about him.

Since you are here in LA, are there any famous actors or celebs you’d like to run into if you had the chance?

I’m a fan of Avril Lavigne so if I met her on the street that would be awesome. I also like Selena Gomez.

If you weren’t a musician, what else could you see yourself doing?

I actually don’t know…I can’t imagine doing anything else.

Tell us a little bit about working with and spending time with LiSA. Any funny stories about her?

I asked LiSA, “do you get stage fright?” She said, “Yes I do,” and that was memorable…so every time I see her on stage, she gives her all, and it makes me feel like I can do it too.

[Michael] Tell us also about your times with Maon Kurosaki too…

Are you a big fan of hers too? (Laughs) She’s actually a very friendly person and really cool, but she’s more girly when off stage So that gap is interesting.

So far, what do you think your greatest achievement is, and what do you want to achieve in the future?

I don’t know if this is an achievement, but when I’ve gotten to play a lot of concerts since I started. And I’d like to play bigger and bigger venues in the future.

Who Killed The World? – The Bureau Of Proto Society Delivers


When anime has such a clear-eyed perspective on the zeitgest, I perk up. Imagine my bemused surprise when a medium so often concerned with appeasing our most questionable wishes, takes a well-timed potshot at itself. Personally, I love it when post-modernism is being used to comment on larger media concerns, and this little gag seemed aimed squarely at fans like me. So when I clicked PLAY on Yasuhiro Yoshiura‘s eight minute short, I was anticipating what Twitter dubbed to be a celebration of classic cinema imagery. What I saw, was the equivalent to a well-executed barside joke.

The Bureau Of Protosociety, takes place in a near nondescript future world where our remaining population lives deep underground. Clearly the result of some vague catastrophe that a clandestine committee continues to mull the cause and effect of. Several members, with screens surrounding them, grant us a window into possible apocalyptic scenarios that have led us to this completely sheltered existence. What ensues from here ranges from war, alien invasion, to plague. All strangely looking familiar while we’re talking about it.

But the references here aren’t what grabbed me most with this. The implication of such a piece, is that in a realm bereft of history, culture is often rendered meaningless. It’s especially biting to discover the nature of the citizenry and the bureau’s concerns over a developing uprising. Almost echoing current political concerns in Japan. A foolish lack of hindsight on the part of a populace, leading to perhaps one of the best summations of the current anime landscape I have seen in some time. (and it doesn’t hurt that the tune at the end brings back many a memory)

Among the many reasons why I have largely enjoyed the Animator Expo series, the ability to play things less commercial and safe remains my favorite. Yoshiura’s reverence for cult, and a bleak sarcasm that could rival bits of Space Dandy, makes this a special standout for those looking for something a little more biting than your usual televised fare. So what if it doesn’t run longer? It’s a nifty little mike drop that deserves your few minutes of snack time. And like all good anime diets, it is crucial that your in-betweens are a greater part of your self-nurturing side.

Happy Food-For-Thought!

Do you want to have a matchmaker like Jane Austen’s Emma?


Jane Austen is a beloved author in English literature who is remembered for the many strong minded female characters that she has created. Her stories has been retold and adapted into multiple formats and media. Probably an example that would date me, but would be perhaps familiar to readers who remember the mid-1990s with the movie Clueless (1995). The movie is on Cher’s matchmaking. Going back to the original story though it is the heroine, Emma Woodhouse who wants to play matchmaker for her friends. Because of her meddling, she learns about her own nativity and oblivious desires. In a conclusion that is prototype for the happily ever after romance story endings, Emma still ends up finding true love herself.

Continue reading Do you want to have a matchmaker like Jane Austen’s Emma?

Interview: Voice Actress Tomoyo Kurosawa (Kumiko in Sound! Euphonium)



Tomoyo Kurosawa is a young voice actress who has already landed several prominent anime voice roles. She’s been acting in commercials, dramas, and stage plays since the age of 3, she also plays the voice of Sylphy in Amagi Brilliant Park, Itsuki in Yuki Yuna is a Hero, Miria in Idolmaster Cinderella Girls, and the lead role of Kumiko in Kyoto Animation’s Sound! Euphonium.

This interview was conducted by Raymond Hu and Michael Huang, and is edited for clarity.

How do you like US-style breakfasts?

I like it! My coordinator/interpreter  took me here and I ate muffins and cupcakes, and I enjoy it.

I’m glad the food tastes good. But personally I think Japanese food tastes better. 

I like them both!

What are the differences between voice acting and other types of acting?

When I was acting in person, it was more natural. But when I started voice acting, I had to train myself physically and pay attention to breathing and use of space.

Who is your favorite seiyuu, and why?

Miki Shinichiro, famous for Kojiro in Pokemon. He’s very passionate and I learned so much about voice acting from him.

How often do you watch anime and play games?

I don’t have much chance to watch anime,  other than my own shows, but Katanagatari made a strong impression on me.

(SPOILERS FOR YUKI YUNA) When you were in Yuuki Yuna is a Hero, you voiced a character, Itsuki, who later lost her voice. How do you voice a character like that?

Up to episode 5, I did have lines, but after that my character couldn’t talk. In episode 9 there was a flashback scene, but there were three weeks total with no lines. Still, the character I played affected the other characters and encouraged them. I treated the role as I would with any other usually.

Kumiko and Reina from Sound! Euphonium (HT: Gar Gar Stegosaurus)

What do you think about the Japanese cultural phenomenon that encourages very intimate relationships between girls from middle school to junior college?* 

Sound Euphonium features good friendships between girls, but it’s not about romantic relationships. But it shows girls’ complicated emotions and frustrations that they can’t really express in middle school. It’s characteristic of puberty. It looks like romance, but it’s not really about that. It just symbolizes adolescent life.

Did you ever have any similar experiences like that in Euphonium?

understand the feeling of being best friends, sympathizing and crying with them.

[Michael] How about with music? Did you ever play music and play in high school band?

I played the guitar in high school.

[Michael] Do you still play?

I practice euphonium now for the anime event! 

[Michael] Did you ever have to go through an audition that is as hard as the ones shown in Sound: Euphonium?

For voice acting auditions, they listened to a recording to decide, but I’ve been to theater auditions where I had to be in a studio for four days and a workshop for one month.

What’s your earlier memory of acting? We know you started at three years old…what were you doing at the time?

I played a granddaughter of Tsugawa Masahiko on an NHK drama when I was three. I saw sugar candy and I started eating it!

*Note: In reference to some of the relationships depicted in Sound!: Euphonium; see this article on Gar Gar Stegosaurus for further analysis (SPOILER ALERT)

Interview: Voice Actress Yumiri Hanamori (Etotama, Rolling Girls)


Yumiri Hanamori is a fresh young face on the voice acting scene. A 17-year old high school student, she has recently had breakout roles as Chiaya in The Rolling Girls and Uri-tan in Etotama. She will also be starring in an upcoming film in 2016, Garakowa -Restore the World- (ガラスの花と壊す世界). 

Raymond Hu conducted the interview, which has been edited for clarity.

We saw on your Twitter bio that you call yourself a “yakitori based girl (焼き鳥系女子です).” Can you explain what you mean by that?

I really love yakitori, but it’s not really something that girls typically eat. It’s something you usually eat with beer or sake. Because I really love making people say “that’s weird,” I have this thing…I call myself that because I think people should love yakitori, no matter their age or gender.

What inspired you to begin seiyuu work?

When I was in middle school, I had a friend who told me that my voice sounded like an anime heroine’s. Back then I also really liked anime, and it was something I thought I’d like to do. They had a seiyuu audition and I applied for that, and that’s how I started.

Which anime character did your voice resemble?

I was in the tennis club, and the voice I was letting out when I played was like a fighting heroine’s. OOH!

You are still a high school student, so how do you balance between school and work?

At first, I was really just focusing on work and I didn’t concentrate much on schoolwork. But now I think balance things a bit better, and I will take the time on the train to review English vocabulary words or other things. I do a little at a time when I have a chance.

Studying is very important.

English is hard!

How do you prepare for your roles in anime, and who do you ask for guidance from?

When I’m prepping for a role, I find someone who is similar to that character and try to imitate the aura that person gives off. At first, I didn’t really have anybody to ask about these things, but now I have more friends who do the same work I do, and so I can ask them “how do you think I should do this character”?

Who’s your favorite Sailor Senshi and why?

Sailor Venus! I watched Sailor Moon when I was younger. You know how Usagi, the main character, is kind of clumsy and awkward? But Venus had long hair, and seemed like what a girl should be like–she has it together. I liked that about her when I was younger, and I still like her now.

Which seiyuu do you admire, and who would you like to work with in the future?

Junko Takeuchi, because I watched anime like Naruto and Inazuma Eleven ever since I was little, and I’ve always admired her since then.

Chiaya Misono from
Chiaya Misono from “Rolling Girls,” who was played by Yumiri Hanamori.

Talk about your experience working on The Rolling Girls. Any interesting things happen? (SPOILERS AHEAD)

At first, when I auditioned for this part, I didn’t know that the character was an alien. So I played her as a regular girl, not too young, but not too old. It was hard to find that balance and get into the character at first, but as the series went on I was able to get to know her a little better and put a little more of myself into it and play around a little bit–like the little noises that she makes.

[Michael] Have you become a fan of the Blue Hearts* since?

I’m a huge fan now!

What type of anime do you like, and why?

Action and battle anime. I like kids’ anime but also late-night anime like Psycho-Pass.

Do you prefer the fisrt or second season of Psycho-Pass?

Season 1!

What fashion brands do you like?

I like Liz Lisa and recently a brand called axesWe, which has girly frills, but not too much.

What do you think of non-Japanese fans in general?

We act in Japanese, so that overseas fans are able to enjoy our acting without fully understanding the language makes me really happy to go beyond borders in order to reach them.

*Note: most of the insert songs and OP/EDs in The Rolling Girls are covers of songs by the classic Japanese punk rock band, the Blue Hearts.

Interview: Aimer

Aimer, an up-and-coming J-pop singer with Defstar Records, is currently best known for her song for Fate/stay Night: Unlimited Blade Works OP “Brave Shine” as well as insert song “Last Stardust.” She has also done EDs for Bleach and No. 6, as well as Gundam Unicorn, and also recorded an album of covers called Your Favorite Things, which include songs by Lady Gaga, Coldplay, and other well-known artists.

We conducted this interview at Anime Expo 2015. The interviewer was Raymond Hu. The transcript is edited for clarity and grammar.

Which artists inspired your work?

I was inspired by Avril Lavinge and a lot of Japanese bands. As for songwriters, I’d say Bjork….for Japanese bands, Spitz.

[Michael] Did you ever watch Honey and Clover? Spitz did a lot of songs for that show.

I do remember the ED theme for Honey and Clover being theirs, yes.*

You did a cover album called Your Favorite Things and covered “Poker Face” by Lady Gaga. What do you think of her as a musician and performer?

Music-wise, she’s very rebellious and does very new things and that’s why I look up to Lady Gaga. Well, actually I’ve never met her in person so I don’t know what she’s like, but musically she really inspires me.

Could you talk a little bit about the making of Your Favorite Things?

Around the time of my debut, I worked with a production team called agehasprings. They were trying to figure out what kind of musical influences and genres they wanted me to aim towards. That’s how they got me started making this cover album.

I read on your home page that you lived abroad sometime [in the UK]. What did you learn from coping with a different culture?

It was definitely difficult to blend in with a different culture and it was a lot of stress for me. But I like the sound of English words so I felt very lucky to be in a different country.

You had to take a break from singing when you were 15. Can you describe your emotions at the time and how you overcame this trial, and what gave you your strength?

Obviously, I was very shocked that I couldn’t sing and I was saddened by it. But by losing my voice, it actually made me appreciate music more than I used to. That is how I overcame and conquered losing my voice.

Did any person or specific inspiration give you that strength?

I went to a lot of hospitals and a lot of doctors, and I finally came across a very well-known doctor. When we were able to figure out what was wrong, it helped me move on.

So identifying the exact cause helped?


After that, your voice evolved to what some call a “dry and sweet” tone. Can you elaborate on that?

It made me very happy and glad to hear people say that about my voice, because I’m not trying to act, to sing [with] that voice…it’s how I sing now. I really appreciate it because it’s my natural voice.

One of your songs is called “Re: I Am” and I understand a deconstruction of your performing name (Aimer). Can you explain what it means to you personally?

So this song was written by Hiroyuki Sawano. If you switch around my name it’s “Re: I Am” (an anagram). Before that song, I was singing very quiet, mellow songs, but this is very different…it was like discovering a new me. It was a very emotional encounter. 

What adjustments did you have to make when you went from an indie artist to a major label one?

Moving to a major label meant I got to meet more fans, and I want to see and hear more from them. I appreciate all the support.

Could you talk about your experience working on the Fate/stay Night: Unlimited Blade Works song, “Last Stardust”?

“Last Stardust” was going to be the OP, but instead “Brave Shine” was chosen. However [the song] is like a farewell to a very weak me, taking that to the past, and becoming a stronger me. 

*Note: Aimer is referring to the ED for the live action film version of Honey and Clover, “Mahou no Kotoba,” not the anime EDs, which were done by Suneohair and others.

Interview: Itaru Hinoue, Character Designer of Key Visual Arts

Itaru Hinoue is lead character designer and one of the founding members of Key Visual Arts, one of the most influential visual novel studios in Japan. Her moe character style has helped define entire genres of visual novels and anime, from titles starting with Kanon and continuing into Air and Clannad. Inoue also contributed to the scenario of Key’s latest visual novel, Rewrite, and has also done other artwork as collected in her art book White Clover.

This interview was conducted by Lily Huang and Michael Huang. It has been edited for clarity and conciseness.

[Michael] When you started designing characters for Key, did you imagine that it would inspire an entire approach to doing this “moe” style?

I didn’t expect it at all!

[Michael] What were you trying to capture in designing characters that way, especially girl characters?

My characters have to be cute–that’s what I was going for.

After you did Kanon and Air, which were very popular games, was there a lot of pressure to meet fans’ expectations between Kanon, Air, and Clannad

I did feel pressure to make it a better creation, to draw it better, to make better illustrations for each project I had. 

I ask because Kanon and Air were only one year apart, but there was a 4 year gap between Air and Clannad

Overall we wanted to do better because Air sold so well. We ended up taking four years because we wanted to go above and beyond.

Between Clannad and Little Busters, you worked on BL games. Do you think boys can be moe?

(Laughs) You must be really into it! I like making very handsome people…because I had been drawing girls, I wanted to draw some guys. With my style of moe, I can draw them…I like the smaller boys so I can apply it the way I like.

When I came across your BL work in White Clover I was surprised. It’s so different from what you’ve done before.

After Clannad I was trying to figure out what to do next, and I wanted to draw boys. I gathered some girls and did some [focus] testing to see what kind of drawings worked, and ended up making it at the company. That’s how it started off.

[Michael] What does moe mean to you, personally?

It means kawaii (cute).

[Michael] What do you hope the audience feels when they see one of your characters?

That’s a hard question! I want them to think–“my wife.” I want them to love them that much. I want them cute enough to say “they ARE my wife.”

Shizuru from Rewrite.

What are your favorite character types to create–tsundere, megane, eyepatch, cool, etc.?

With Shizuru [Nakatsu, from Rewrite], I stuffed in everything I like into that chracter. That could be your base line of what I like to draw.

Are you aware that there are a lot of fans overseas of Key, and we were able to raise $500,000 for an English translation of Clannad?

I didn’t know it was overseas as much, but at Comiket, I did see some overseas users that visited.

Will Key focus on the overseas market in the future?

[producer] We’ll try!

How did you develop your special style of creating characters, with the large eyes and high noses? 

I’ve been drawing since I was little, and I’ve always liked large eyes–it’s a staple. Whenever I draw they just end up being big.

Interview: Ryukishi07, creator of Higurashi and Umineko


Ryukishi07 of 07th Expansion is a pioneer in the visual novel scene. Best known as the original creator of Higurashi no Naku Koro ni and Umineko no Naku Koro ni, he has been plumbing the depths of suspense, horror, and mystery for many years. Recently, in a change of genre, he wrote Lucia’s route in Key Visual Arts’ most recent visual novel, Rewrite (whose head writer was Aura and Humanity Has Declined’s Romeo Tanaka).

This interview was conducted by Lily Huang, and comes courtesy of MangaGamer. It has been edited for clarity and concision.

Why do your stories revolve around the tension between natural or supernatural explanations for phenomenon? (For instance, the curse of Oyashiro-sama in Higurashi, the Red or Blue Truth in Umineko, and Lucia’s route in Rewrite.)

I like to leave it up to the audience to figure it out on their own.

Do what audiences come up with ever contradict what you imagined?

Yes, there are times when I present something, but readers take it a different way. It happens a lot. In the case of Higurashi, it took four years to make, and the readers had a lot of opinions and feedback, and I would take that and incorporate it into the next work. It’s like catching and passing a ball back and forth, an ongoing process.


You worked on Rewrite’s Lucia route, which was a collaboration with many other people. Was it harder to write it without any feedback from fans?

In the case of Higurashi and Umineko, it was my own work so I could do whatever I wanted. In Rewrite, it was Key Visual Arts’ work so I had to respect that, and it made me really nervous to write in a very different style and thought process.

When you did the Lucia route, did you have to write more “business” type than “passion” type than you usually do? How did it make your work with Key more or less difficult?

For me, when I could write anything I wanted, it was harder to come up with things. With Rewrite, there’s already a world and setting set up for me, as well as a character. It’s actually easier to write and expand that world. It was fun.

Did you write the route knowing the ending ahead of time, or not?

Rewrite itself is by Romeo Tanaka, and I couldn’t change that–there was already an initial setting for Lucia. But the direction of the story was up to me, as long as it was possible in that world. The ending was mine.

Overall what was your experience like as a collaborator? What did you like and what would you change?

Before Rewrite, I only wrote mystery, murders, suspense…it was the first time I wrote a love story. I found a lot of new things about my writing style. It was a good experience.


We know you as a creator who works very closely with fans–Umineko and Higurashi had changes after fan feedback. How has your interaction with fans changed since then?

When I wrote Higurashi and Umineko, I was still young and energetic, so I could go all the way. Now I’m getting kind of old and want to settle down, and find a new way of writing to fit my current stamina.

What is it like working with fan translation groups like Witch Hunt vs official companies like MangaGamer?

I’m always surprised because my games are so long, and there’s so much text, it’s surprising someone can translate all that work. They must have so much passion over the story.

What is like working with MangaGamer?

I’m very happy that we released new artwork for Higurashi and putting things on Steam. I’m happy to see new fans try things out that way.

What are your thoughts of the future of the doujin and visual novel market in Japan vs America? Do you see fan involvement being more important in the future?

Today’s visual novels are released by commercial companies; they are such high quality, they’re almost like [professional] anime. But people like fans that are making their own sound novels for the first time, they’re unable to get to that level at the start. I’m a little worried about them. But it’s OK that there can be two separate worlds of visual novels–very high quality commercial novels as well as old-fashioned pictures and music sound novels.

Interview: Daisuke Ishiwatari, Creator of Guilty Gear


Video game designer Daisuke Ishiwatari is best known as the creator of the fighting game series Guilty Gear. A multi-talented artist, he not only serves as a video game designer but also as a score composer, having written the score for BlazBlue. He also provided voices for characters in Guilty Gear. 

Jeremy Booth interviewed him at Anime Expo 2015. This interview was edited for clarity and concision. Question help provided by Dan Campisi.

You were born in South Africa, is that correct? What was your family doing there?

Yes, in Johannesburg. They were there for work.

How long did you and your family live there?

I’ve lived there twice: the first time when I was born, and right after that we immediately returned to Japan. Then I was there again from the fourth year of elementary school to the second year of middle school.

So are you technically South African-Japanese then?

At the time, I had dual South African/Japanese citizenship, but when I was taking my tests for college, I got a conscription notice from the South African army. I threw away my [South African] citizenship then.

How would you describe the culture in South Africa compared to Japan and here? Do you have a lot of memories?

First of all, when you hear “Africa” you don’t think “big city,” but [Johannesburg] is a very big city. We were Japanese, but since we were living mostly with Caucasian people, it felt kind of like England.

Moving on to your gaming work, you’ve done a lot of jobs from music creator, character designer, voice actor, director…what would you say your focus has been in the past few years? Which role is your favorite?

What I’m doing now hasn’t really changed much from the past, but one thing has changed: I used to do a lot of the graphics [myself], but now I hand that over to the lead artists. In terms of favorite–I like everything.

I also understand you’re a big fan of western RPGs like Diablo and Fallout. What is it that you like about them?

I love them. I haven’t been playing them too much recently, but when I first put my hands on them, one thing that really clicked with me was the sense of freedom you got from those games.

Kind of a sandbox environment where you can do a little of everything?


Your expertise is on focusing on being the best at fighting games. Where do you see the future of fighting games heading?

For me personally, if the genre were to change anymore, it would no longer be “fighting games.” For instance, there’s Super Smash Bros, and if you were to ask me if that was a fighting game, I would say it’s not–it’s different. But, that being said, I think that within the genre, there are things that haven’t been discovered or invented yet, and discovering those things is part of our mission.

In 2012 you said in a Gamasutra interview that you wanted to see that the genre kept evolving. How has your thinking changed since then?

It’s a really difficult question,  but for a long time, I’ve really wanted to see a game where players used their own physical strength inside the game. But maybe if that kind of thing were to happen, it may no longer be the same thing.


In Guilty Gear, there is a character called Bridget. Bridget is considered one of the first transgender character in games. What was the process of creating Bridget, and what inspired you to make the character transgender?

I guess I couldn’t pin the inspiration for the character on any one thing. But when we are making new characters, we are always looking for some new element to add to the character to make it interesting and fun, and while we were making Bridget, that was the element.

Did you realize it was a milestone when you did it?

I wasn’t thinking about; I didn’t realize.


There’s a fan debate on how to pronounce “BlazBlue.” What is the correct way to pronounce it?

So in Japan, we pronounce it “Blay-Blue.” In other countries, the pronunciation is “Blaze Blue.” Mori [Toshimichi], the gentleman who worked on BlazBlue, he really liked the sound of “Blay-Blue”, but when it came time to localize to other countries, he was told there was no way that would work.

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