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[MP100 Interview Translation Thread] Here& #39;s Character Designer Kameda, Eye-catch Team Kenja, Series Co-ordinator Seko & Director Tachikawa& #39;s interviews from Øtømedia April 2019! Long thread that I& #39;ll update bit by bit over time;
![[MP100 Interview Translation Thread] Here& #39;s Character Designer Kameda, Eye-catch Team Kenja, Series Co-ordinator Seko & Director Tachikawa& #39;s interviews from Øtømedia April 2019! Long thread that I& #39;ll update bit by bit over time;](https://pbs.twimg.com/media/ET0TZ4HWkAE-atr.png "[MP100 Interview Translation Thread] Here& #39;s Character Designer Kameda, Eye-catch Team Kenja, Series Co-ordinator Seko & Director Tachikawa& #39;s interviews from Øtømedia April 2019! Long thread that I& #39;ll update bit by bit over time;")
![[MP100 Interview Translation Thread] Here& #39;s Character Designer Kameda, Eye-catch Team Kenja, Series Co-ordinator Seko & Director Tachikawa& #39;s interviews from Øtømedia April 2019! Long thread that I& #39;ll update bit by bit over time;](https://pbs.twimg.com/media/ET0TdqGXYAAxKMK.jpg "[MP100 Interview Translation Thread] Here& #39;s Character Designer Kameda, Eye-catch Team Kenja, Series Co-ordinator Seko & Director Tachikawa& #39;s interviews from Øtømedia April 2019! Long thread that I& #39;ll update bit by bit over time;")
[TN: I’ll be doing these in a second-person semi-summary style as it’s a lot easier and there& #39;s a lot to get through! “” are direct quotes, and interviews will be done in the order presented above]
First, Character Designer Kameda Yoshimichi!
Asked how the production environment was for season 2, he says that it was “strangely pretty hectic - lots of stuff going on (laughs)”. States that with season 2 they understood the direction that MP100 would take more than they did with season 1.
Something he and Director Tachikawa struggled with in season 1 was what kind of anime style would be best suited for the manga.
For season 2 the majority of the staff working on it had seen season 1, so production was steady.
Before season 2 he’d been working on “Doraemon the Movie: Nobita& #39;s Treasure Island”, but work for season 2 began before he was finished with that film.
Just before working on season 1 of MP100 he’d worked on One Punch Man, “and it’s thanks to that that I was able to snap into work on Mob Psycho 100, but this time around it was a bit of a hard fight.”
While drawing the designs for the new characters who’d appear in season 2 he eventually found himself readjusting to the proportions of MP100 (vs. Doraemon’s style)
Mentions how Tachikawa had been working on the MP100 S1 OVA previously so getting back into work on Mob Psycho didn’t seem to be that strange for him, but for Kameda personally it took a bit of getting used to.
He’s asked if there’s anything regarding Mob’s character design that is essential to maintain a certain ‘Mob’-ness about him, to which Kameda replies; “The length of his fringe/bangs, ie. whether or not you can see his eyebrows.”
Discusses how there’s only a certain amount of space between where his hair ends and his eyelids start to give an expression, and the depth of his expression varies greatly depending on if he has eyebrows or not.
“Mob is a character who isn’t really expressive, but regardless, it is important to be able to show his expressions. That’s something I told everyone to pay attention to.”
“In season 1 we avoided drawing Mob with eyebrows as much as possible, but in season 2 we see them again and again, and then we have the super handsome sparkly-eyed Mob in S2E5! Since that episode, it became fine to give him eyebrows even in his normal state (laughs).”
“This season, he’s had a lot of angry scenes. The start of episode 9 has him quite notably angry. For that, you’ve got to give him eyebrows.”
Q: “Would you say season 2 lifted the ban on eyebrows?”
A: “Season 2 lifted the ban on eyebrows!” States he himself didn’t draw eyebrows much at all during season 1. “Right now, I’m doing work on the final episode, and I’m giving those eyebrows a certain plumpness (laughs).”
A: “Season 2 lifted the ban on eyebrows!” States he himself didn’t draw eyebrows much at all during season 1. “Right now, I’m doing work on the final episode, and I’m giving those eyebrows a certain plumpness (laughs).”
Asked if there were any other changes made to the characters. “This is a very minute change, but for certain characters like Mob and Reigen I made a change to their silhouettes - beforehand, their hair had a rounder shape, but now their hair has become a little more playful.”
“I suppose rather than a choice I made on purpose, their hair ended up this way because it’s easier to draw. It’s probably the result of the great amount of advertisement art I drew after season 1 finished broadcasting.”
Asked what he thinks season 2’s “power-up” point is or where it has changed compared to season 1, he says that they had a lot of young animators participate this season and the quality of their digital work was amazing.
Mentions how with digital animation the look of things like smoke and sparks, and spatial representation, improves.
“For example, in S2E3, when Reigen is looking through the window, the camera passes by him and while approaching the girl, the camera turns to the wall and enters it… the animator made the environment for that scene in 3D with a virtual camera.”
Kameda& #39;s comments on the cover art;
‘Everyone Camping!’
“Somehow or another - camping! The usual group getting the bus in the early morning, heading toward the mountains… it’s that kind of image, but, huh? The ultimate five are here, too. What kinda situation is this?? ↓
‘Everyone Camping!’
“Somehow or another - camping! The usual group getting the bus in the early morning, heading toward the mountains… it’s that kind of image, but, huh? The ultimate five are here, too. What kinda situation is this?? ↓
Anyway, Suzuki’s probably cold in those clothes. Moreover, he’s going empty-handed - he’s completely making light of the mountains. And contrary to expectations - Serizawa-san! Carrying his umbrella! ↓
The weather in the mountains does indeed change a lot… but, that’s not why he’s carrying it - it’s just his usual umbrella. It’s not used for the rain. Ah, Shimazaki-san. In this kind of situation he’d sit in priority seating.”
Q:"A good amount of new characters show up this season - which of them is your favourite?"
A:”Shinra Banshoumaru! I made him chubbier than he is in the manga. His belly that sticks out, his short legs, his harem pants… Tachikawa-san told me I was going too far.
A:”Shinra Banshoumaru! I made him chubbier than he is in the manga. His belly that sticks out, his short legs, his harem pants… Tachikawa-san told me I was going too far.
But I persisted; ‘Tachikawa-san, we live in a time where there’s no chubby characters in anime! If there’s any anime that can challenge that it’s Mob Psycho 100!’ I was like a bulldozer with the things I said, and as a result I got him how I wanted him!
... I say that, but Tachikawa-san also topped up the amount of belly-sways Shinra has (laughs).”
He& #39;s asked about characters post S2E9, to which he mentions Joseph& #39;s clothes being different in the manga. "He wears a greyish suit in the manga, but I feel like Joseph has more of a white image. Plus, a grey suit would overlap with Reigen.
At first I had Joseph wear a black leather jacket, but a few days later I reviewed that and went, & #39;nah, that& #39;s not right.& #39; I had it changed to white."
He is asked about any scenes up until S2E9 that he particularly fussed over, or any that left an impression on him. “Episode 7. It’s a great Reigen story, and I had the privilege of being the animation director for it. I paid great attention to Reigen’s expressions.
It’s an episode with a lot of good cuts, so I wanted to make sure they were all the best quality they could be.”
Q: “Of those cuts, which would you say is the best?”
A: “It really leaves an impression on you in the manga - when Reigen says, ‘You’ve really grown up, haven’t you’, a message for beyond the camera. [...]
![Q: “Of those cuts, which would you say is the best?”A: “It really leaves an impression on you in the manga - when Reigen says, ‘You’ve really grown up, haven’t you’, a message for beyond the camera. [...]](https://pbs.twimg.com/media/EUDkncOXQAMbhLv.jpg "Q: “Of those cuts, which would you say is the best?”A: “It really leaves an impression on you in the manga - when Reigen says, ‘You’ve really grown up, haven’t you’, a message for beyond the camera. [...]")
![Q: “Of those cuts, which would you say is the best?”A: “It really leaves an impression on you in the manga - when Reigen says, ‘You’ve really grown up, haven’t you’, a message for beyond the camera. [...]](https://pbs.twimg.com/media/EUDk8heXkAAfB7Q.jpg "Q: “Of those cuts, which would you say is the best?”A: “It really leaves an impression on you in the manga - when Reigen says, ‘You’ve really grown up, haven’t you’, a message for beyond the camera. [...]")
A: “It really leaves an impression on you in the manga - when Reigen says, ‘You’ve really grown up, haven’t you’, a message for beyond the camera. [...]
Then, in the final part of the episode, when he talks to Mob on the bridge. Episode 7 truly has some great expressions; my favourite faces.”
He’s asked if there’s anything coming up that he’d like us to pay attention to & any highlights - mentions the battle between Shibata and Gouda. Says the anime brings action and originality that only anime can achieve.
His final message to readers is that if you haven’t read the manga yet, don’t go running to read it, wait for the anime first, so you can experience the tension of not knowing what happens next. “The quality of season 2 is insane, right up until the end.”
That& #39;s it for Kameda - next will be Kenja!
Kenja are described as a video production group, who have made promotional advertisements for MP100 (both for the manga and S1 of the anime), and were in charge of the eyecatches for season 2.
The eyecatches were mainly made by koya, Takarai & 0gt. koya, their representative, has worked as ONE’s assistant, and Takarai participated as an animator this season.
Asked how they ended up doing the eyecatches for season 2, koya says that Satou Miyo (who was in charge of the season 1 ending) was a classmate of his when he was a graduate student.
“We got back in touch and the message I got was, ‘I’m doing work on the ending of Mob Psycho 100, do you want to work on something here too, koya-kun?’ (laughs).”
Takarai had his way in via already being an animator for the show, and koya discusses being ONE’s assistant. “ONE-san and I get along very well, so I’d tag along to anime events. I got talking to Director Tachikawa and now here we are.”
They were originally told that it’d be fine to have the same eyecatch for before and after the commercial pause, but they were worried that watching the same thing twice would be a bit unbearable, so they made two for each episode instead.
koya: “Ended up being tougher than I thought (laughs).”
Takarai: “Well, simply put, we doubled our work load (laughs).”
Takarai: “Well, simply put, we doubled our work load (laughs).”
The eyecatch for episode 3 is brought up. Takarai; “Eyecatches have this image of being stand-alone things, but for this episode, it snuggles up to the plot. It was a choice that made me anxious, but looking at everyone’s reactions to it, I was relieved.”
Their final message to the readers comes from koya, who states that going on Twitter and seeing everyone react to mob psycho 100 stuff as it happens in real time is very encouraging. “Even just, ‘I wonder what the eyecatches will be today?’, makes me happy.”
Next interview is another reasonably short one from Series Co-ordinator Seko!
Asked where he thinks season 2 has powered up compared to season 1, he says that season 1 had to introduce all the characters - season 2 starts off with the characters introduced, so the action kicks off full-throttle.
He’s asked what his thought process was in choosing what parts of the manga to leave out of the anime. “My process is, I first write with absolutely everything from the manga in the script, then choose what to cut from there.
The flow of the story as a whole is important - I keep that in the forefront of my mind, and thus choose to keep things that are vital to the story. Other than that, I try to keep scenes that show off the personalities of the characters.
There’s been moments where I’ve had to cut scenes, even though I really like them, just because they wouldn’t fit into the length of the episode…!
Other than episode length, there’s also parts of Mob Psycho 100 that we wouldn’t have been able to include due to broadcasting code."
He’s asked which character he thinks grew the most, to which he says Mob. “What stuck with me was episode 3. ‘Mob’s been thinking about this kind of stuff’... I was like, ‘oh’.
He’s asked if there’s any other character he feels has had a big change since season 1. “Naturally, Reigen. [...] I feel like Reigen has had a layer peeled back, after episodes 6 and 7.
He’s an adult, and he does act that way sometimes, but there’s parts of him that haven’t matured… but I feel with the completion of that arc, he’s taken a step closer to becoming a fully-fledged adult.”
He’s asked if there’s been any part of the season up until episode 9 that& #39;s particularly left an impression on him, to which he says episode 8. “The marathon. [...] That was a part that made me think, wow, this manga is amazing.
You have a regular school marathon, and then come home to find your house on fire - not something you’d be quick to find anywhere else, huh. (Laughs)”
He discusses how originally season 2 was 12 episodes, and the house fire would’ve come at the end of Part A of the original episode 8, and Claw Arc would commence with the B part.
It was with Warner Brother’s intervention that season 2 became 13 episodes, as an individual from Warner Bros. wanted to have the fire come at the end of episode 8.
[TN: This is discussed again in the Character Guidebook and Animestyle December 2019] https://twitter.com/KatyaTalks/status/1224397693000323072?s=20">https://twitter.com/KatyaTalk...
He’s asked which of the new characters in season 2 has particularly been on his mind. “His entry is a little later on, but I love Serizawa from the Ultimate Five. How should I put it… it’s not surprising that he’s the way he is.
He was a hikikomori, and he doesn’t know anything about society, so he believes in and follows his ‘boss’. I think this sort of situation can happen to anyone.
He was brainwashed, so to say. But, what becomes of him? His story is one that I really love, so he’s definitely the character on my mind.”
He’s asked what it is about Mob Psycho 100 that makes it Mob-Psycho-100-ish, to which he says that the characters don’t feel like they’re just characters - they’re all a bit hopeless but that’s what makes them loveable.
“The Telepathy Club guys, for example… if they were real they probably wouldn’t be able to become proper members of society, but we still think of them fondly. Perhaps we’re too harsh to people who we deem hopeless in this world of ours.”
“No matter who you are, ONE-san will be warm to you. I think the goodness in Mob Psycho 100 comes from ONE-san’s personality.”
That’s it for Seko! Next is Director Tachikawa, who gets a longer interview like Kameda.
Says that the average age of people working on season 2 dropped slightly compared to season 1. “We had people who love the manga, people who had only seen season 1, and those who love both. So there was a harmonious atmosphere.”
States that there was a lot of creative freedom given to the staff. “We can play around. That’s a merit of a show of this calibre - you can do as you please.”
States that season 2 powered up compared to season 1 when it comes to emotions. Says that even in fight scenes, the personalities of the characters and their relationships shine through, which is something he wanted to maintain when shifting the MP100 manga into anime form.
“There’s quite an oscillation when it comes to emotions in the first half of the season. Episode 1 is warm and fluffy; episode 2 has a mix of laughs and horror; episode 3 impacts you… as do 4 and 5 (laughs).
Then, episodes 6 and 7 moved plenty of our staff to tears. They’re full of heart.”
States that within all this oscillation, “from the start to the end, something we paid attention to was making sure the theme of ‘Mob’s ongoing growth’ was present. That ‘he is able to change himself’.”
“He’s able to change because he has everyone, and everyone around him is able to change, too.”
Discussion of season 2’s ED. “The emotional intensity of season 2 shifts a lot, and when the show makes you feel down it makes you feel /down/. So, I asked for an ending that’s warm and fluffy - something that calms you when you watch it.”
“The illustrations are incredibly cute, but actually, the ending is not just cute - there’s stuff depicted that holds a deeper meaning.”
https://twitter.com/KatyaTalks/status/1240261775012093953?s=20">https://twitter.com/KatyaTalk...
He’s asked about the kaleidoscope imagery present in the intro. “Originally the S2 outro didn’t have any kaleidoscope imagery, but I wanted to add it in, so now there’s that link between the intro and the outro.
Mob continuously changes as a result of the people he meets… that’s a theme of the outro, but it’s also a theme of Mob Psycho 100 in general. There’s several parts within a kaleidoscope, but put the parts together and they create something new and charming.
Mob gains friends, and as a result of all these different friends, he’s able to grow… that’s the meaning behind the kaleidoscope, and why it’s present in both the intro and outro.”
Interviewer brings up that Tachikawa previously said that season 1 was written with Reigen & Mob’s shishou-deshi relationship at its core, and asks what is at the core of season 2.
“Reigen is also a protagonist-type character in Mob Psycho 100, but this time around we focused on Mob… season 2 has ‘The people surrounding Mob and his relationships with them’ at its core.
Episodes 6 and 7 are pretty firmly about Reigen. Then there’s Mogami, and Serizawa later on. But, even deeper at its core season 2 focuses on how Mob grows as a result of the people he meets.”
Interviewer brings up that Tachikawa previously said he wanted to animate Reigen’s press conference, and asks how it was having that wish become reality. “We have it in season 1, that scene where Mob meets Reigen for the first time.
When we put that in season 1, we thought if we’d ever get to animate the press conference, we’d use that scene again but have Reigen’s monologue from the manga this time around. I’m glad we were able to do that.”
Reigen’s past not being in the manga is brought up. “With the anime, I wanted to show a bit of how Reigen ended up where he is now.”
https://twitter.com/KatyaTalks/status/1229146343752507392?s=20">https://twitter.com/KatyaTalk...
“We struggled deciding whether Reigen’s past should be as a water filter salesman, or as an insurance salesman. Ultimately, we asked ONE-sensei, who decided for us: ‘I like the idea of him selling water.’”
Discussion of Tsubomi coming to S&S as not being in the manga. Tachikawa wanted a scene in which Reigen, Ritsu, Teru do something for Mob - “something that sets things back to normal, after Whitey Arc.” ONE gave the idea, then published it as an omake manga.
He is asked what he’d like us to pay attention to with the final episodes. “Each character has their own motivation, but at the end of the day those motivations all add up to ‘defeat claw’.” Mentions a bunch of new characters making their entrance.
His final message to readers is that a lot of work went into the final episodes and attention was paid to detail, so please enjoy.
