Although manga writer Satoshi Mizukami is already working on his next series, filmmaker Kagetsu Aizawa and producer Allian Cai first came to Anime NYC with their supernatural action drama Sengoku Youko. Aizawa has a lengthy directorial history; he began his career in the animation business in the late 1980s, directing episodes of Penguindrum and Laid-Back Camp as well as supervising the animation for multiple Pokémon movies, Revolutionary Girl Utena, and Hell Girl.
Cai has produced work for a number of animation companies. She worked as an assistant producer on the demon slice-of-life anime As Miss Beelzebub loves it, the campy Back Arrow animation series by Goro Taniguchi, and the buddy-assassin comedy-drama Buddy Daddies by P.A. Works.
The producer and director talked about the difficulties they had while creating the animation, such as coming up with the ideal voice for a 200-year-old yōkai and using their creativity to make Jinka’s assaults seem realistic.
What drew you in to the original manga by Satoshi Mizukami?
Kagetsu AIZAWA: I suppose what most resonated with me about this piece was the human connection it depicted. Each and every character, including the lead and supporting cast, has a complex personality and is incredibly fascinating. Each of them has advantages and disadvantages. Even the less strong characters are written in an optimistic manner. I believe that the interpersonal ties truly drew me in.
Allian CAI: The main character’s constant changes are, in my opinion, what makes this manga series distinctive. The primary character shifts in volume seven of the entire series, which consists of 17 volumes. In the end, the first main character was saved by the second main character. In my opinion, this is different from other comics.
When choosing the voice performers for the Jinka and Tama siblings, what factor was most crucial?
Kagetsu AIZAWA: In order to select the casting, we had numerous tape auditions. Regarding Jinka. It seemed relatively simple, in my opinion. Sōma Saitō, the voice actor, was very simply obtained. On the other hand, casting Tama was more challenging and involved. Nevertheless, we managed to ultimately choose [Yūki Takada], who was the best choice. It is an honor for me that we were able to.
Allian CAI: I was picky about Tama’s recommendation, and a lot of individuals tried out for the role on tape. However, since Tama is a fox with a lifespan of over 200 years, I felt it was crucial that she have a calm demeanor, and I believe the director felt the same way. Naturally, all of the contenders, including [Yuuki] Takada-san, were adorable, but we decided on Ms. Takada for Tama because she was both adorable and effectively created the impression that Yoko had lived for 200 years.
A common feature of anime is supernatural action series. What distinguishes Sengoku Yōko from other games in terms of its magical action?
One is Kagetsu AIZAWA. Given that it’s a historical piece, what distinguishes it? We have the katana stuff, of course. They fight using Jinka’s special weapon, a very long sword. However, what’s funny, in my opinion, is that they just start punching each other without using any weapons—instead, they use their fists. That is, in my opinion, a rather peculiar and humorous feature, similar to how enormous the fist is.
Are you referring to Jinka’s initial stone attack, the one that emerges from the ground?
Kagetsu AIZAWA: For a particular attack, certainly. It features a wide variety of hand-to-hand fighting scenarios.
There is a lot of Japanese folklore in the series. Did you particularly enjoy seeing a certain katawara come to life in the anime?
Kagetsu AIZAWA: The anime has a lot of somber moments, but Tago kind of stirs things up and causes chaos when he shows up. Eventually, nothing really occurs; he just walks away. I was drawn to him because of his sense of humor and the contrast between his appearance and his true nature. He’s a favorite of mine.
What elements go into making a superb action scene, in your opinion?
Kagetsu AIZAWA: I believe that the drama and storyline need to be brought to life in the action scene. For instance, in certain action sequences, you may notice that the characters appear to be fighting before the narrative ends. However, I believe that the action scene and the story must work together harmoniously. It’s what I truly intended to highlight in this series.
Jinka battles a castle in one of the series’ most significant opening battles. How did you tackle such a massive animation battle?
Kagetsu AIZAWA: There are a lot of dramatic two-page spread sequences in the manga, not just in that particular scene, I believe. When you view the animation, I wanted to be sure that scenario or that mood was accurately captured. it’s how I actually handled it, and I hope it comes across for you when you see it. Please watch it and let us know what happens.
Which of the major obstacles you faced while working on the series did you successfully overcome?
Kagetsu AIZAWA: One of the difficulties was Jinka’s extensive repertoire of unique approaches. However, a lot of the time, the manga isn’t that detailed when you read it. It is my responsibility to instruct the animators on the type of attack and the manner in which it will be executed. While it is ideal, things don’t always go as planned at the storyboard stage. I had to think creatively and delve pretty deep for this. It took a lot of work to figure out the kanji meanings for every technique mentioned in the manga and to support the notion that this is most likely what it means. I’m happy that I was able to access my idea bank without compromising on getting as many ideas as possible out of it.
Which of your successes from working on the series was the most fulfilling?
Kagetsu AIZAWA: I don’t think I’m satisfied just yet because there’s a lot of work still to do. We’re still making progress. However, in terms of episodes, I believe that episode seven was pretty well done. The thirteenth episode was also more difficult. Therefore, those seem to be coming together. Those two episodes in particular make me very proud.
