"Yurucamp △" Interview with Yoshiaki Kyogoku ──We packed all the charms of the camp atmosphere, food, and hot springs with location scouting!

“Yurucamp △” Interview with Yoshiaki Kyogoku ──We packed all the charms of the camp atmosphere, food, and hot springs with location scouting!
January 08, 2018 14:000
New Information Interview 2018 Winter Anime
“Yurucamp △” Interview with Yoshiaki Kyogoku ──We packed all the charms of the camp atmosphere, food, and hot springs with location scouting!
TV anime “Yurucamp” (Original: Afro / Houbunsha / Manga Time Kirara Forward), which started broadcasting on AT-X, TOKYO MX, Sun TV, KBS Kyoto, and BS11 from Thursday, January 4, 2018. .. Set in Yamanashi Prefecture, this work, which gently depicts high school girls camping and living their daily lives, is full of charm such as the atmosphere woven by the characters, detailed camp depictions, and beautiful scenery. I’m also looking forward to how it is expressed in anime.
This time, we interviewed director Yoshiaki Kyogoku, who will be the first director of this work. We talked a lot about the charm of this work and the points that were particular about making it into an animation.
Location scouting in the same season and place as the original
-Please tell us about the works that Director Kyogoku has been involved in so far.

Kyogoku Originally, he started his career as an animator with Production I.G. From the middle of the process, I became interested in directing and did various works, and the one I worked on most was “Kuroko’s Basketball”. After that, he became free and did “Seraph of the end” and “Star-Mu” of the same C-Station as this work.
――And you will be the first director in this work. How did he become the director?

When Shunsuke Tada, the director of Kyogoku’s “Kuroko’s Basketball” and “Star-Mu”, was directing “Star-Mu” on C-Station, Mr. Maru, the president, introduced me to the producer of this work. .. It seems that “Yurucamp” seems to go well with me. C-Station is a very good company, so I was happy to be able to supervise it there. Normally, I should reply after reading the original, but I said “I’ll do it!” In two replies (laughs). When I think about it now, I think it was a very careless act.
――How was your impression of reading the original?

Kyogoku: No, I’m glad. Anyway, it was interesting and I thought that the first director was really happy with this work. It’s not a big drama, but all the characters are attractive and cute. The characters drawn by Afro-sensei don’t feel very natural. (Kagamihara) Nadeshiko (Shima) As symbolized by Rin’s relationship, I felt a sense of distance that was neither too close nor too far, very natural and realistic.
…… I don’t usually have a chance to interact with high school girls, so I don’t know if it’s really real (laughs).
――I wondered if the two would meet and join the same club, but surprisingly each camp is drawn.

Kyogoku: If it’s a common work, it would be “Rin, who is camping alone, meets Nadeshiko, and the members get together and finally camp together and finish”, but that’s not the case. Sometimes I camp in groups and even solo. It’s really nice to say that either one is fine. I think it’s new that they are loosely connected through Nadeshiko.
――Please tell us what you focused on when animating such an attractive work.

Kyogoku: Another attraction of this work is camping, isn’t it? After reading the original, I wanted to camp, and I wanted to eat the camping meal that Nadeshiko and his friends are eating. I thought that I couldn’t draw that feeling without actually trying it in an anime, so I decided to go to location scouting first. I and the main staff went around all the model campsites.
―You started making after feeling the air.

Kyogoku Afro-sensei draws the place where he actually went, so if you go, you will definitely see the scenery. So, while looking at the original and saying, “That scene is here,” I ended up staying for about 10 times and doing location scouting. I wanted to match the feeling of the seasons, so I did location scouting mainly in the fall and winter of last year, but it was cold and difficult anyway. Although it was “Yurucamp”, it wasn’t loose at all (laughs).
But that’s another interesting part of this work, because Rin likes quiet camping, so I dare to do it in the fall and winter. I thought that the camp had an image of summer and it was a group activity, so the quiet and empty campsite was fresh. I didn’t know until I went to this feeling.
Did you actually make camping rice?

I made all of Kyogoku. Afro-sensei’s choice is amazing, and it’s really delicious no matter what you make. Eating outside doubles the deliciousness.
――What was the most delicious of them?

Kyogoku: After all, it’s a gyoza hot pot. The deliciousness of the soup you eat in the cold is exceptional.
―The depiction of food is expected even in anime.

Kyogoku is doing my best. However, it’s the demon gate that draws meals in anime (laughs). I drew it when I was an animator, but I couldn’t draw it well … I hope it will be transmitted deliciously.
-Did you have any requests in advance from Mr. Afro?

Kyogoku was almost nonexistent. I had you come to the book reading (screenplay meeting) every week, but there was no such thing as “Don’t do this” at all. Rather, all the participants in this reading were fans of the original work, so it felt like they were gathering around the teacher (laughs). We had a delusion of something that hadn’t been drawn yet, and we had it adopted. The teacher was very supportive and grateful.
We are particular about music and acting to eat
――In terms of story, will the original story come out by becoming an anime?

Kyogoku: There are some original parts such as a little scene, but the basic flow is in line with the original. This work has a slow flow of time and is very dense. Even if I tried to add various originals to inflate the character, it didn’t fit at all (laughs). The teacher also thought about what I really wanted to put in, so it’s a very natural original.
In the original, it was also impressive to use the spread effectively in how to draw the landscape.

Kyogoku That’s right. When I actually go to the place drawn in the spread, everywhere is a really wonderful view. Even in anime, we are making efforts so that you can feel the charm of such scenery.
―How about the music side?

The biggest difference from Kyogoku manga is that it makes music, so I was particular about music in order to create a solid atmosphere. Specifically, in ordinary animation, music is added according to the character’s emotions and the atmosphere of the scene, but in this work, the order is made with the consciousness of adding music to the scene rather than the character.
And Akiyuki Tateyama put on very nice music and made the theme of each campsite. The campsite has its own personality, so I explained it to Mr. Tateyama while showing the pictures. The theme of the campsite is luxuriously made so that it can only be used there.
―I want you to listen to it at the actual campsite.

Kyogoku by all means. I think that the feeling that the air is different at each campsite is very good.
――The voice is also unique to anime, but did you decide the main cast by audition?

Kyogoku That’s right. It’s an embarrassing story, I didn’t know much about female voice actors because I was doing anime with only boys, but I was really happy because I was able to ask someone who thought that it would suit the character without prejudice. ..
――I would like to ask you more specifically about the W heroine Nadeshiko and Rin. First of all, about Nadeshiko.

She wanted Kyogoku Nadeshiko to be innocent and wild, so Yumiri Hanamori’s voice was very addictive. The refreshing and tickling voice is attractive.
――I think that one of the great attractions of Nadeshiko is “eating deliciously”. How was Mr. Hanamori’s acting?

Kyogoku: This is where we have taken a lot of takes. I think it was difficult for Mr. Hanamori because he had to look like a “child who eats deliciously”, but I was particular about it. Thanks to that, I really feel like Nadeshiko is eating. After repeating the take of cup ramen in the first episode, Mr. Hanamori himself said, “I’m hungry for her” (laughs).
――In the eating scene, I used a lot of cuts even in the original, and I felt that I was particular about slight changes in facial expressions.

Kyogoku: It’s not that it looks delicious if you just draw it neatly, but I think it feels delicious because of the reaction of eating. So, how to eat happily is emphasized not only in the voice but also in the picture.
I think that the “moment of discovering everyday happiness” that Afro sensei wants to draw is also included in the facial expression of eating. It’s called Sense of Wonder, and it’s a work full of fresh charm that it looks like it’s fun just walking around the campsite, so I’m thinking of doing my best when it comes to eating.
―How about Rin?
Kyogoku Rin is a solo camper, but it’s not that he doesn’t have friends, and it’s not a communicative disorder. But I like being alone. Moreover, I was originally a child whose emotions were not so exposed, and I thought it would be difficult because there were many monologue lines, so I went to the audition. Nao Toyama was a person who was able to express accurately and finely with a short word, so that was really good.
There isn’t much direction?
Kyogoku: After taking the time to create the role in the first episode, I feel like I’ve been grasping the character.
――So, please tell us what you were careful about when drawing the character and if there were any people who had a particular difficulty.

Kyogoku: Overall, I was careful about the appropriate sense of distance and relationships I mentioned earlier.
Speaking of individual characters, it’s difficult to do dianthus. Rin has a lot of monologues, and I think there are many people who are relatively emotional. However, Nadeshiko is innocent, but she doesn’t think about anything and thinks about the other person properly. I’m a child who can close the distance, but can be careful when he dislikes it. It’s not just the so-called anime-like patterned innocence, so it’s difficult to adjust the amount.
――It was like a so-called hero character, and I thought I would step into my pocket, but it was different.

The character drawn by Kyogoku Afro-sensei is slightly different from the stereotype. It’s deep and raw. So I try to draw carefully there.
―By the way, what is your personal favorite character for Kyogoku?
Kyogoku: Everyone likes it, but if anyone is one, it’s Mr. Saito (Ena Saito).
――Mr. Saito is quite familiar with the members of Nokuru (outdoor activity circle), isn’t it?
She seems to be Kyogoku. At first, I felt like I was just a friend, but in reality, I was in an important position where I was trying to get closer to Nadeshiko and Rin. All the members of the book reading had a recommendation, and there were people who tried to increase the turn of the child if there was a chance, so I adjusted while fighting (laugh).
Background, food, utensils, dogs, hot springs … all the charm of the original comes out
-I would like to ask you more about the staff’s lineup. The series composition is Hitoshi Tanaka.
It was my first time to work with Mr. Hitoshi Kyogoku, but he understood the charm of the original very much, and he firmly incorporated the details that do not appear in the table into the script. The original scene may deviate from the world view of “Yurucamp △”, but I asked you to write it so that it fits in well. I’m really glad that Mr. Hitoshi had a series composition.
――Character design is also important in building a world view, isn’t it?
Kyogoku Mutsumi Sasaki is really good. She is a very master of Afro-sensei’s paintings, even when viewed as a former painter.
―I feel unique about how to use lines.

Kyogoku: It’s easy to read, but the information is actually very organized and there are some dense parts. Mr. Sasaki was very worried and made the original character a good anime character. It took a considerable amount of time to draw the five main characters, but I think it was a very good design. The more you look at the teacher’s picture, the more difficult it is to do, so it’s difficult to design it so that the animator can draw it.
――I think Afro-sensei is particular about it, but there are a lot of dogs in the film. Is there an anime?

The same is true for the chikuwa owned by Mr. Saito of Kyogoku, and there is always a dog somewhere. When I asked him, Mr. Afro seemed to like dogs and motorcycles, so he secured the dog’s turn as in the original (laughs). It happens that Mr. Sasaki also likes dogs, so he puts a lot of effort into drawing. Especially, the drawing of Chikuwa’s character settings is amazing, and only Chikuwa has a lot of points. Dogs are indispensable for Laid-Back Camp.
――It feels like the original is full of charm.

Kyogoku: I want to be so. As for the camping equipment, Mr. fro draws the actual equipment as a model, so for the time being, I bought a set of camping equipment that Rin had and set it up based on that (laughs). When I read the original, the camping equipment burned the boy’s heart, and I just wanted to play with it. If you actually buy it, that’s right, and it’s fun just to assemble it. I am doing my best to make you feel that kind of thing.
Not only characters and stories, but also backgrounds, dishes, utensils, dogs and many other attractive works. Afro-sensei’s gimmicks are so great that he prepares interesting places here and there, so you won’t get tired of reading or reading. I want to aim for that in anime as well.
――By the way, the original is up to 4 volumes. How about drawing 4 volumes with a volume of 1 cool?
Kyogoku: If it is a normal animation, one cool will be 5 to 6 volumes of the original. So, it may seem that the amount of the original is not enough, but on the contrary, it is too dense and I am struggling to find out how to push it in. Afro-sensei is very good at it, so I can read it easily, but it takes a lot of time to do the same thing with animation. When I make a video, it doesn’t go according to the frame of the manga, so if I try to draw it carefully, it won’t fit in, and there are some cuts that make me cry.
――I will listen to the voices of male fans on behalf of them. Is there a hot spring scene?
There is Kyogoku properly (laughs). That is one of the attractions of camping, so I would like to draw it so that I want to go camping and take a hot spring. However, since the service shot is not a work that comes out bang bang, I am doing it with the same casualness as the original.
――I was relieved to hear that (laughs).
I had a hot spring in the Kyogoku location scouting, but I couldn’t help but enjoy the open-air bath while looking at Mt. Fuji. He said that he wanted to camp and go to the hot springs all the time without making anime (laughs).
――I want to go just by listening to the story.

Kyogoku: I definitely want you to go. It was the same with us, but when I went to the site and read back the original, it was many times more interesting. One of the attractions of camping in the fall and winter is that the air is clear so you can see it from afar. Warm things are delicious. But it’s really cold so please prepare properly.
―Finally, I would like to ask you about the foundation of Kyogoku as the first director. What kind of work has the director been influenced by?

Kyogoku: I’ve loved Hayao Miyazaki’s work since I was little, and I grew up influenced by Moro. On the contrary, I’m not very familiar with other anime.
―Miyazaki animation is one of the charms of how to draw nature, so it matches this work.

Kyogoku That’s right. According to the producer, the way I draw my animation is rather visual or live-action, so I thought it would match this work. On the other hand, I haven’t done much anime animation, and I don’t have many drawers, so I’m glad I didn’t have that kind of work (laughs). I’ve always liked to draw everyday life carefully, so this work, which makes camping and eating attractive, is very rewarding.
――It’s an anime that was made because such a director drew it.
Kyogoku I will do my best! I don’t want to raise the hurdle too much (laughs).
(Interview / text / photo / Kenichi Chiba)



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