The TV anime "mono" is based on a manga by Afro, who is known for "Laid-Back Camp". The original manga is currently being serialized in "Manga Time Kirara Carat" (Houbunsha), and depicts the daily lives of high school girls in the "Cinephoto Club", a merger of the photography club and the film research club. The anime beautifully depicts the scenery of "holy places" such as Yamanashi, and expresses the various charms of cars, motorcycles, gourmet food, comedy, everyday life, etc. in a way that is unique to anime. The anime has also been a hot topic for depicting the behind-the-scenes of how manga is made into anime, but what about "mono"? We spoke to Kuroda Yusei of Houbunsha, who is in charge of editing the original work, Fujita Noriaki, producer of Soine, which is in charge of the anime, and Tanaka Akira, producer of Aniplex, about it.
◇ A four-frame comic that makes use of interviews and experiences from "Laid-Back Camp"
-How did the serialization of "mono" begin while you were serializing "Laid-Back Camp"?
Kuroda-san Afro-sensei had a four-panel comic before "Laid-Back Camp", but I suggested that he draw a four-panel comic before "Laid-Back Camp" was made into an anime. Since the serialization of the spin-off four-panel comic of "Puella Magi Madoka Magica" had just ended, we decided to have him draw a four-panel comic while making use of his research and experience of "Laid-Back Camp".
--The camera is also a big factor.
Professor Kuroda is more interested in gadgets than cameras. The model for the 360-degree camera that appears in "mono" was originally used for the interviews for "Laid-Back Camp", and the composition using a fisheye lens often appears in "Laid-Back Camp".
Fujita-san was very particular about the angle of view in the original work, which is also interesting. However, it's difficult to move it in animation... How do we turn this into an animation? I thought about this. It's rare to move a 360-degree camera in animation, and I'd never seen it before, so it was quite difficult. For the first episode, after a lot of trial and error with the CG and cinematography, we somehow managed to get it into shape. The landscape-drawn image is fitted into a sphere using the 3DCG software "Blender," but it's quite difficult to move it. It's difficult to do it every time, so we use it effectively.
--Apart from cameras, there are many other attractions such as cars, motorbikes and gourmet food.
Mr. Kuroda 's hobby is touring, and camping is an extension of that. He goes to many different places on his tours. I think the influence of "How Do You Like Wednesday?", which he likes, is also a big factor.
◇Avoid braking as much as possible
--What was important to you when adapting the story into an anime?
As a producer, Fujita-san, I told the director and the staff to express the gags well. Instead of making it an anime like "Laid-Back Camp", I tried to differentiate it. I wanted to make it a video that was rich in the individuality of the creators while still bringing out the colors of the animation director and director.
Tanaka: There are three things. When I was a student, I saw the original work in "Manga Time Kirara" and aimed to work in the anime industry. I love it so much. From a fan's perspective, I want the work to be like this! One is to cherish the desire. The other is to do as much as possible of what Soinet wants to do. The creators are leaning forward, so I don't say no as much as possible. I didn't want to step on the brakes as much as possible. Finally, it's about not deviating from the original. When turning a four-panel comic into an anime, there is a task of filling in the gaps between the lines that are not drawn, but the series composer, Yoko Yonaiyama, was very helpful and carefully incorporated the gaps between the lines without straying from the original.
--Is the original author, Afro, involved in the anime?
Kuroda-san supervised and participated in the reading. He looked at the character designs down to the smallest detail.
Tanaka: When I was stuck, it was a great help to have the teacher there.
Kuroda: I basically leave it up to the animation staff. There was talk that it might be difficult to incorporate the third episode into the anime, especially since the scenes change so much, but the balance is wonderful. The teacher also said that it was very good. Other than that, there's the scene where the twisted scythe falls in episode 1, the 360-degree camera footage, the kite flying in episode 2, the production after exiting the tunnel in episode 5... I enjoy the unique fun of anime every time.
◇ Expressing the air and smell of a "holy place"
--The scenery of Yamanashi and other areas is also beautifully depicted. Did you put a lot of effort into location scouting?
Fujita: I tried to capture the atmosphere, the smells, and so on. There are some things you can't understand unless you go to the location. Your impression changes when you see it with your own eyes, not just in a photo, so I asked the directors of each episode to go to the location as much as possible. In some cases, it was too difficult to see everything in one day, so we even had them stay overnight.
Tanaka: Location scouting is especially important for this film. You can't really know the details until you see it in person. It may be unique in the sense that we scouted a lot of locations.
By expressing something you have actually seen, your work becomes more persuasive. This will also be reflected in the art, sound, and character acting.
How realistic did you try to make it?
Fujita-san: I think it's largely down to the art team's consideration of balance. Miho-san is in charge of it, and when it comes to incorporating it into the anime background, he has years of technique and know-how, and even when the characters are on it, it doesn't look out of place. I think it's actually close to the impression you get when you visit.
--The third episode also drew a lot of attention as it featured a pilgrimage to the holy sites of "Laid-Back Camp," which is being made into an anime.
This was a challenge that Tanaka-san had never taken before. I was worried that if you don't have prior knowledge of the work, you might not understand it... but when I opened the lid, some people explained it on SNS, and I'm glad that they enjoyed it. I've never heard of a pilgrimage to a sacred place in another anime being depicted in an anime. It's actually an amazing episode.
Perhaps this was possible because it was an episode that was also in Kuroda's original work.
◇Get back anime songs!
--Each episode has its highlights.
Tanaka: Each episode has a strong creator's personality, which gives it a good balance and makes every episode appealing. In particular, episode 8 makes you wonder, in a good way, what anime is this?
We wanted to preserve Fujita's original work while also showing the fun of each creator.
--Are there many young creators?
There are a lot of Fujita-san . There are many productions where the directing plan is solidified in the first episode and proceeds along that line, but this production incorporates as much of the director's input as possible for each episode, so that's also a point that makes it fun to watch.
Tanaka- san is consistent, but the end result seems like an anthology-like production.
-Which creators are you paying attention to?
Fujita-san , everyone, pay attention! For episode 7, which was aired the other day, Takahashi Mizuki, the animation director, made it very carefully. Nakagami Yuki, the storyboard and director, also pay attention. For episode 8, Makino Hidenori, the storyboard and director, is a talented animator who is very careful, and this is also reflected in the direction. Nishihara Daiki is the sole animation director for episode 8, and the quality is amazing. Everyone is great, though.
Tanaka-san's sound is also very powerful. We asked Momoishi Gen to compose the soundtrack, and the music goes from fun to suddenly moving, and the scene with Kurokuma Sensei is a horror one. The music has a variety of tempos, and it really stands out in the anime. I also feel the power of the cast. The five main characters looked like the characters themselves from the audition stage. Sensei also participated in the audition, and it was decided by unanimous consent of everyone, and he is a perfect fit for the role, which is unthinkable for anyone else.
--What should we look forward to in the future?
Fujita-san, the creator, will show his individuality and run through to the final episode. There are many young staff members, so please look forward to their future work.
Tanaka-san will release a character song album in the Reiwa era. There have been fewer of them recently, haven't there? I'd be happy if you enjoy it, as I came up with the concept of "Let's bring back anime songs!" The Blu-ray market is shrinking, but it's precisely at a time like this that I want you to pick up a Blu-ray. It's a work that deals with gadgets, and I want to convey the charm of "mono" and preserve the culture of Blu-ray. The bonuses are also luxurious. Personally, I'm looking for what "mono" is, and I'd be happy if I could find "mono" after the final episode.
As Producer Tanaka said, "I try not to step on the brakes as much as possible," "mono" is a film that shows young creators expressing themselves with all their might, and the images that show each individual's individuality are a major attraction. Please watch it over and over again to feel the creators' attention to detail.
