The last talk of the event, “Kakegurui XX” staff talk again with MAPPA’s CEO and producer Manabu Otsuka, both directors Yuichiro Hayashi and Kiyoshi Matsuda, series composer, and screenwriter Yasuko Kobayashi. The talk started with George Wada, managing director of the event moderation.
The first theme of the talk was “First season retrospective and further attraction of the second season”
As for the first period broadcasted in the summer of 2017 and well received, Otsuka-san said, “I feel like I’ve run through all the first season with its high tension,” said Hayashi. I thought it would be great to see the show as the number of characters increased in the second term. Kobayashi-san also told us about the work, “The script was fast to go through until the final draft, but unlike other works, many of the scenes were long and they had many lines so I couldn’t read the number of manuscripts.”
Furthermore, Otsuka-san explained that the two director’s system established in the second term, “It was simply for the convenience of Hayashi-san schedule.” Hayashi-san was also considered to be the chief director, but it is said that he established a system of double coaching, as Hayashi-san is the type of creator who moves his hands on the spot. Matsuda-san, who joined from after the first term as an in-house director, said, “I’m conscious of making it a bit more light while leaving the deepness of the first term.”
The next topic is “Behind the scenes stories about the production”
The most exciting thing was the complication of calculating the votes, which is a unique hazard of this work. Kobayashi-san said, “It was hard to figure out who owns what and how many. But Matsuda-san understood it completely”. Matsuda-san said, “It was calculated based on that” response. It seems that it was more difficult to calculate the votes because there was a change in the story from the original work into the anime.
Now a question from Wada-san jumped out with a question, “When did you felt the success of the anime this time?”. What I felt at the stage of storyboards that I was drawing for the fourth episode was warm feelings coming from Hayami-san acting after the recording, I was convinced that I couldn’t do it in the atmosphere of the first episode.
Furthermore, the topic advances to “What you were conscious about in the production”
About this subject, Matsuda-san commented, “Because the original work is well done, I tried to express myself as less as possible in a faithful manner.” Kobayashi-san said, “It is difficult to explain gambling, and the explanation words will be long by all means, but in the case of this work, I am working to make the impossible.”
In the subsequent Q&A session, a question came over from the visitors to Kobayashi-san about the difficulties of producing animes whose original works weren’t finished. Then, Kobayashi-san said, “It used to be harder because I would make the final episode of the anime more forcibly, but now there are many works that end as drawn in the original, so it became easier. It wasn’t a big deal, I might just be paralyzed (laughs).
And with the last greeting, each appeals the highlight of the second half of the second period currently on the air (obviously at the time this post is up, the show ended a while ago now). Otsuka-san once again commented, “I think that I can feel persuasive power that is not only logic, but I’m fired up to the end!” Hayashi-san also concluded, “Because they are all exciting stories, please continue to support me!” And the stage ended as well the event.
My coverage of Anista (Animation Studio Meeting) is now completed, thank you to those who were interested in reading. Any recommendations for future reports are more than welcome.