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Created by Shane Wallis Aug 28, 2018 at 07:39PM EDT
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Origin Entry: Darling in the Franxx
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![Return] [Catalog] [Bottom] [Update Auto]8 File Darling in the Franxx Anonymous 07/29/18(Sun)18:30:49 No.176280942 Alright, I'm finally done translating this. I'll now proceed to post The full translation of the Nishigori interview from Newtype's June 2018 issue (even though it's called the June issue, it went on sale in May, after episode 16 had aired.) -A short excerpt from an Interview with Hayashi and Yamazaki (worked on the setting and wrote the scripts for episodes 7 & 9) from the same issu few excerpts from an interview with Hayashi from CONTINUE vol. 54 which went on sale after the anime had finished aired, the interview itself however was conducted at the end of June. All greentexted parts are personal opinions, translation notes or other additional information and are not part of the original interviews. Without further ado, let's start with the Nishigori interview Anonymous 07/29/18(Sun)18:31:50 No.1762809862176281605 Q: How do you feel about the production of Darling in the Franxx up to this point? A: As an anime original work, created it from scratch, but the cast and staff understood what I was trying to do, so there are parts that expanded and grew beyond what I had originally envisioned. It's a refreshing experience to look forward with excitement to the finished film each time Q: Which parts of the work remained largely unchanged between the original planning stage and the present? A There are also parts related to "what I wanted to do with this work and its themes, but It's the human elements that manifested when I finished creating the relationships between the characters. As far as these are concerned, anything goes. A desire o be recognized', an interest in the other sex", 'a healthy appetite, all of these are fine. I wanted to depict things like the vitality that young people have. I feel that I was able to include this properly On the other hand, are there any parts that deviated from the original plans Regarding the developments in the latter half, I decided to keep my options open. This work consists of four separate parts. I had already made up my mind about the first half, consisting of part 1 (episodes 1-6) and part 2 (ep 7-15), but for the second half I just let things take their course. I believe that if you make up your mind about the first half, then in response to the tension of the staff and the cast, the story in the second half will unfold naturally I believe this momentum at the workplace is one o nonymous 07/29/18(Sun)18:32:30 o as the story changed, what was the moment where you had worked out the protagonist, Hiro be honest, I purposefully left some parts of him difficult to understand. He isn't the kind of person who becomes a protagonist out of his own volition the center of the world, but he's not the type to set the story into motion in a shounen manga fashion. I think you will come to understand him if you watch Dar Fra until the very end You see Hiro through the eyes of the children and Zero Two He is Hiro, and he is the protagonist of DarliFra. In making DarliFra up to is point, I talked with everyone from the staff, and there were also parts where I was persuaded by Uemura-san's voice. The "self that he put into his acting and screaming made me think This is probably Hiro", Because th also the story here and is looking for a place where he belongs. I think it d be ni I could depict him and Zero Two, who each lost one of their wings, finding a place where they belong together [1 t can you tell u She's an interesting character to write. Zero Two is also a character that wasn't really cast in stone, but based on Tomatsu-san's acting and the staffs depictions of her, I decided to make her captivatingly free-spirited and wild. For example, in episode 3 Ootsuka (Masahiko)-san wrote the line *Just kidding into the script.I wasn't sure what to do with it, but when I heard Tomatsu-san saying it in a cute voice, I thought "I wonder, is she really?" and couldn't bring myself to change it anymore. Another thing, in episode 5 Takao (Noriko)-san (Storyboard & Screenplay) gave Zero Two some really creepy vibes when she draws in Hiro. So each of them freely worked out Zero Two's appeal. With Zero Two, we followed the approach that if it was interesting. we included it. Anonymous 07/29/1(Sun)18.33:56 No. 176281079 Q: Episode 13 is about Hiro's and Zero Two's childhood and their encounter. How did you feel after you finished writing this important episode? A: It might be an overstatement to say that I created DarliFra because I wanted to write episode 13, but that's basically how significant this episode was from the very beginning. When you write stories like this, you often hear "these poor children" from the other staff, but this time I wanted to write about the joy and emotions that blossom in such a dystopia. Things like Nojima Shinji-san's dramas [21 gave me a much more painful impression when I watched them in my youth. Because in "Miseinen [3] or "Seija no koushin" [4] for example, amidst all of the suffering, there were also charming parts. Things like "the world of the adults" and "the potential of the children in DarliFra might have a touch of the dramas from that time. I followed the approach that I would be satisfied if DarliFra itself could provide a stimulus for the ever more scrupulous present age. 2 In a different interview, Hayashi also mentions these dramas, saying that Nishigori told his staff to familiarize themselves with them. 3 A 1995 television drama about a group of high schoolers. The protagonist is nicknamed Hiro, written in Katakana just like Dar Fra's Hiro. Another character's first mame is Goro [4] A 1998 television drama about mentally impaired factory workers who are treated inhumanely. Anonymous 07/29/18(Sun)18.34:34 No. 176281 ant t you about the children, what can you tell us about l chigo a is world, their characters are absolutely necessary. They're honor students who are in a somewhat unfavorable position. I have a bit of a weakness for characters in thankless roles who make you feel sorry for them. In this world where children don't show any emotion, Ichigo in particular acts very human and rushes headlong into things, yet she also has a delicate side, so the staff are hoping that she will get rewarded. I am happy that everyone became so attached to my characters andp Q: It seems Zorome and Miku are also popular with the staff, aren't they? Laughs) Because those two are the only ones who are easy to understand, carefree and composed. Episodes 8 and 10 are children's weaknesses. Because it's revealed that usually, they're just acting tough. In Idolmaster as well, Makoto, who's boyisha s and Zorome's episodes respectively and while it's fine if they're cheerful and make a ruckus, it's precisely because they act like this that I can use them to depict the t glance, was interested in things like dates. I like showing that kind of gap Q: The relationships between Futoshi, Mitsuru, Kokoro and lkuno changed, didn't they Kokoro picking up a book called "My first childbirth" in episode seven is essential to the story and marks a big turning point. Some elements of the adults enter the world of the boys and girls. However, there are no adults around them that they could go to for advice. Kokoro is a gentle and agreeable character, but we come to see her motherly and obstinate side. At around this point, Hayami (Saori)-san had apparently come to understand her role in the story as well Anonymous 07/29/18(Sun)18:35:32 No.176281148 Q: Mitsuru, Futoshi and lkuno start to act in accordance with their wishes, right? had thought of Mitsuru as a counterpart to Hiro but now he feels like a secondary protagonist. [5] He's different from Hiro, but in the world of DarliFra he represents the children growing up. I think Futoshi, who watches over Mitsuru and Kokoro, has grown into a splendid man. As for lkuno, I look forward to how the audience will respond to her from episode 16 onward The exact wording Nishigori uses here to describe Mitsurus role is裏王人公, which is commonly translated as "antihero but I don't think that term makes much sense here. And what about the supporting cast? n this story. the only ones who are neither adults nor children are Doctor Franks, Nana, Hachi and the Nines. As the world continues to change, whose side will they be on and what will they think?I hope that for them, the answers to these questions will be different from those of the children. An important element in this work is the picture book-The Beast and the Prince. Why did you decide to turn what Zero Two wishes for into a picture book? I figured that in this world where none of the adults tell the children anything. whatever the children learn would come from records of human emotion left behind by the people of a previous age. And Zero Two, who doesn't know language, would learn it from pictures. As a person who makes a living from pictures, I believe in their power. So this time, Minamino Aki-san [6] was kind enough to draw a really convincing picture book. I paid a lot of attention to properly incorporating it into the series The artist published a few of the original illustrations for the picture book on his twitter account: https:/mobile twitter com/_poo illust/status/983337491779301 7628 The story will soon reach its climax. Please give us a few pointers on what we should look forward to regarding future developments There will be a huge wave of revelations in the latter half about things like the Japanese town that appeared in episode 7 and the relationship between klaxxosaurs and mankind. The character that appeared at the end of episode 16 will also play an important role. Understanding the entirety of what depicted in the second half might prove to be difficult, but I'd be happy if you could empathize with the children's emotions as you watch it That's it for the Nishigori interview, next up is the Hayashi/Yamazaki bit from June's newtype :46 How did you decide who was responsible for the script of which episode? Hayashi: The director had already planned out episodes 1-6 in considerable detail and handled the script for episode 1 himself, I was put in charge of episode Yamazaki: From around episodes 8-11 onward [7], the rough structure of the episodes had been decided upon, but it was still undecided which characters we wanted to focus on and what they would do, so we collected everyone's ideas and distributed the episodes among ourselves. It was close a bit strange 1話辺り以降basically means around episodes 8-11 and then everything after that which especially clashes with Nishigori s claim that episode 13 as pretty much planned rom the start, so I think that episode at least should be exempt om this statement. ashi: [about klaxxohime] I made an appeal to the director to give her the appearance of a very young child (laughs) excerpts from the Hayashi interview from CONTINUE vol. 54 7/29/18(Sun)18.38 03 No. 176281254 ashi-san, for this work, you were in charge of the script together with Nishigoril-san, but what specifically did you contribute? l performed supporting tasks such as turning the plot Nishigori-san had created into the original script and doing the series composition t the time when you joined, Nishigori-san's plot, the setting and the rough course of events were already in place? That's right. The setting was fixed, and there also existed rough sketches for the characters, klaxxosaurs and so on. The outline of the story was already visible to a certain extent egarding the emotional state of the characters, did you feel that, fundamentally, what Nishigori-san wanted to depict was how the children change and grow up in response to their surroundings, or was it the love between them? had to choose one, I'd say it's a multiprotagonist drama. Of course, portraying their love is important as well, but more than t got the t drama about these childre the beginning, before starting work on the actual script I created a prototype and we compared it with Nishigori-san's vision, but I tried to properly incorporate such emotional elements. [8] >[8] I'm not sure if my inadequate knowledge of Japanese is at fault here or If this is indeed worded as ambiguously as l t I cannot tell for s 丟棄is supposed to refer to·love' or not. 38 7628 Q: In depicting such a relationship between the adults and the children, Hiro's, and by extension the children's situation, is likened to that of birds. The bird motive in particular is very easy to understand, but why birds? From the initial stages, Nishigori-san really empathized the birds. They're strongly incorporated in monologues and there are many parts where they're linked to the characters' emotions and circumstances. Q: So I was thinking. maybe it's precisely because the children were linked to birds and other organic metaphors and inspirations that the Franxx were named after flowers? Hm, now that you mention it... I never asked why they were named after flowers (laughs). [9) >[9] I just want to remind everyone in this thread that we spent six months memeing about how this is the guy who was responsible for all the symbolism in this show 40:1 7628 1 The issue containing this interview will go on sale after episode 24, the final episode, has aired, do look for forward to seeing the finished version of episode 2 I really look forward to it! I wrote the script for episode 24 together with Nishigori-san. I think it turned into a spectacular and moving ending d episode 24 already begun to take shape during the initial production stages to some extent? It looked like Nishigori-san had a lot of trouble deciding on a conclusion. He squeezed in small elements even after the broadcast of the series had already started l see. When was the script for episode 24 finished? My work was finished around the time the first few episodes of DarliFra had aired I had originally turned Nishigori-san's basic outline of the plot into what could be called a very rough draft of a script, and without finalizing it, Nishigori-san started drawing the storyboard at once](https://i.kym-cdn.com/photos/images/list/001/397/335/8fb.png "Newtype interview")
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