The animated feature film "The Keeper of the Camphor Tree," based on Higashino Keigo's novel, which has sold over one million copies, will be released on January 30th. Many of Higashino's works have been adapted into live-action films and TV dramas, but this is the first time they have been made into an anime. The film is also attracting attention for being animated by a stellar staff, including director Ito Tomohiko, known for works such as "Sword Art Online," "Erased," and "HELLO WORLD," and character design by Itagaki Akiko, who worked as animation director on "The Castle in the Mirror." We spoke to Itagaki about the behind-the-scenes production.
◇Variety and exciting designs by Tsubasa Yamaguchi
-What is your impression of the work?
I think this is a work that will resonate with me and help me as I get older. There are parts that are fascinating as a mystery, and it's a story that saves many people, so I felt a broad sense of kindness.
--Yamaguchi Tsubasa, known for the manga "Blue Period," is in charge of character design, and Takahashi Takeshi, the costume designer, is also involved. What do you think is the appeal of Yamaguchi's characters?
I felt that the appeal of the design was that it was diverse and exciting, and not just beautiful, but had a variety of hooks. The exquisite degree of deformation and the wide range of possibilities add an interesting and catchy touch to this work, which has a strong sense of realism, and I was honored to have the role of incorporating it into the anime design.
-What is your impression of the costumes designed by Takahashi?
It made an impact. It was flashy! (Reito is an exception, of course), but it wasn't vulgar and gave off a fun impression, and if you saw someone wearing this kind of fashion on the street, you'd probably feel like you got a bargain.
--Based on Yamaguchi-san and Takahashi-san's designs, what was important to you when putting together the characters for the anime?
I think I prioritized a design that could be drawn in lots of frames and moved, and a line count that made the colors look good. Even within that, I tried to incorporate anything that I could, such as Yamaguchi's realistic silhouettes and interesting designs that are unique to his drawings, and Takahashi's suggestions for texture and style, even if there were some issues with moving them or drawing the many frames, as long as I felt they were appealing.
◇ When it's time to do it, Reito does it, and it's all in his eyebrows
--The main character, Reito, has some aspects that are not typical of a main character. What was it about Reito that attracted you and led you to design him?
The final version was created under the direction of the director and Yamaguchi-san's original idea, but I personally find his lethargic and rebellious side appealing, as he somehow manages to take action. In accordance with the director's instructions, I made sure to emphasize that he is a 21-year-old young man who is not a typical anime protagonist, by incorporating sloppiness into his silhouette and determination into his eyebrows.
--On the other hand, Senshu has a strong presence. What did you pay attention to in order to make Senshu's individuality stand out?
Both Yamaguchi-san and Takahashi-san have created impactful characters, so I think they pulled me up by trying to create that same impression. I paid particular attention to the coolness of the silhouette and the position of the eyes and nose, as he is a person with a sharp bone structure. I drew him with the determination to make him look cool in the end. This was the character I was most nervous about drawing, including working on the main story.
--The character designs for the cute Yumi Saji and Masakazu Yanagisawa, who has an intimidating presence different from Senshu, are also impressive. What were you trying to convey when designing characters other than Reito and Senshu?
This was a direction from the director, but I was conscious of making sure the roles were conveyed to the viewer. I also wanted to make it important to have a variety of people, so while there were exceptions, I tried to make each character's individuality come out through their physique while still maintaining a certain degree of realism.
--What was the biggest challenge for you in this production?
It was my first time designing a main character for animation, so I was pretty much dabbling in it. It was difficult to decide on the look of the character design for animation, and also to draw the necessary number of people in various styles.
--Please give a message to those who are looking forward to the anime.
This is a film that you can really appreciate when you see it in a cinema, so I hope you enjoy it in the theater!
