Today I bring more live concert subtitles! This time for IDOLiSH7 LIVE BEYOND Op. 7. Now this was extremely difficult so I apologize in advance for any missed lines. They're constantly talking over each other so it was really hard to hear. So for now, I just did Day Two, because it had funnier MC moments. I haven't decided if I'm going to do Day One as well, but if I do, I'll add it here.
Please note this is timed to the bluray. Song translations are from Crunchyroll when available, or adapted from my own translations on Miraheze.
Today I bring you English fan translations for TRIGGER LIVE CROSS VALIANT! I've learned how to do basic subtitles so I'm including a sub file as well as the MC translations below for those who aren't able to use it.
Please note this is timed to the bluray. Song translations are from Crunchyroll when available, or adapted from fan translations on Miraheze. I'm not a professional and just did this for fun so I apologize for any mistakes.
Download the .ass subtitle files here: DAY 1 | DAY 2
This is a fan translation for IDOLiSH7's MC portions of the 10th anniversary Visiblive concert.
Riku: Everyone, thank you for coming to Visiblive HiGH TENSiON FUSiON! We are -Â
All: IDOLiSH7!
Riku: Today, IDOLiSH7 has ended up at Yokohama Mirai Portâs Pia Arena. Is everyone having fun?
Iori: How are you liking it?
Yamato: Howâs it been?
Riku: Thanks! Then I think itâs time we introduce the members one by one. Starting with IoriâŠjust playing! With Nagi!
Nagi: Oh! Okay! In a loud voice all together, letâs say hello! Ready, go! Hello~! Thank you very much! I'm very happy to receive everyone's cheerful greeting! Let's make today another wonderful day together! Next, Sogo!
Sogo: Right. Welcome to Visiblive HiGH TENSiON FUSiON everyone! If you don't mind, please show us your penlight and your fans by waving your hands. Thank you very much. I'm very happy to see such a wonderful view. Please continue to wave them a lot. Next is Tamaki-kun.Â
Tamaki: Yeah! Guys, are you doinâ good?Â
Mitsuki: Howâre you?
*cheers*
Tamaki: Thanks! Iâm SO GOOD! After the concert, let's all eat some Chinese steamed buns, xiao long bao (soup dumplings), and gyoza (pot stickers) and go home feeling even better, âkay? By the way, I really chowed down earlier! Yay! Okay, next is Mikki!
Mitsuki: Right. Everyone, thanks so much for coming out to Pia Arena today! Are you enjoying Yokohama?Â
Riku: Yay!
Mitsuki: Thank you! We, the 16 members of IDOLiSH7, TRIGGER, Re:vale, and ZOOL, will make this venue as exciting as possible, so please have a lot of fun! Yeah! Now itâs Yamato-san!
Yamato: Roger! Thanks for coming all the way out to Yokohama to see us today! Of course, TRIGGER, Re:vale, and ZOOL are all pretty cool, but we, IDOLiSH7, are the coolest, right? Thanks. You guys are the coolest, too! Okay, next, Ichi!Â
Iori: Everyone, thank you for attending Visiblive HiGH TENSiON FUSiON. We will sing to our utmost to ensure IDOLiSH7 puts on the best concert, so please prepare yourselves. Thank you. Letâs all have a good time together. Lastly, Nanase-san please.Â
Riku: Thanks again for coming to Yokohama, everyone! Now, I want to do my usual thing. Here we go. Ready? Arena!
*cheers*
Riku: In the stands!
*cheers*
Riku: Lastly, everyone overseas, streaming, and live-viewing!
*cheers*
Riku: Thanks!
Mitsuki: Iâm thrilled this year is off to such a great start.
Nagi: Yes.
Iori: Now then, everyone. What comes to mind when you think of Yokohama?
Tamaki: Me! Shumai (steamed pork dumplings)! I havenât had any yet!Â
Nagi: It has been the setting for many anime!
Sogo: Itâs also a city that has produced many famous artists!
Yamato: Right, right.
Iori: Everyone, thatâs not what I meant.Â
Nagi: Oh?
Iori: We did a collaboration here, with Yokohama Cosmo World, donât you remember?
Riku: Youâre right! Of course youâd remember!
Yamato: Have you guys checked out Cosmo World yet?Â
Iori: How was it?
*cheers*
Mitsuki: Thanks. The collab period has already ended, but weâd love for you to visit as often as you like.
Tamaki: I struggled to resist munching on the churros and crepes I had for the photo shoot.
Sogo: I was nervous when I saw that too.
Nagi: Yamato looked like a father figure as he guided us around the amusement park while looking at the map.
Yamato: Shut up, I know that amusement parks arenât really my scene.
Riku: That's not true, Yamato-san! I was happy to ride the ferris wheel with you.
Yamato: Ah yeah?
Iori: That reminds me, we split into groups of Nikaido-san, Rokuya-san, and Nanase-san, and then my brother, Yotsuba-san, Osaka-san, and me for the ride.Â
Sogo: Werenât you afraid of how high it was?
Tamaki: Not at all! I mean, I had fun just âcause everyone was there. Right, Mikki?Â
Mitsuki: The view of Minato Mirai was beautiful, and Iori was there too, so that was reassuring.
Iori: Nii-sanâŠ
Nagi: Being able to walk around with the other members made everything fun! It felt like a family outing.
Yamato: Let's all go together again, to Cosmo World.
Riku: Let's ride a lot of rides again.
Sogo: I hope you all make lots of wonderful memories in Yokohama.
Tamaki: But your first memory is this concert, right?
Riku: Well then, please listen to the next songâŠ
This is a fan translation for TRIGGER's MC portions of the 10th anniversary Visiblive concert.
Tenn: Everyone, welcome to Visiblive HiGH TENSiON FUSiON. We are -Â
All: TRIGGER!
Tenn: Weâve missed you.Â
*cheers*
Tenn: Thanks. Letâs have a wonderful time together today. First, weâd like to introduce ourselves, starting with Gaku.Â
Gaku: Got it. First, let me hear you - are you all excited?
*cheers*
Gaku: Louder! Are you excited?
*cheers*
Gaku: Heh, thank you! Sounds like you guys are ready! Weâll be singing with all weâve got, so stick with us! Next is Ryuu.
Ryuu: Right! Thank you all for coming all the way to Yokohama today! I'm so happy to see such happy faces! Okay, then I think I'll do the "everyone" thing like these two! Everyone! I love you.
*cheers*
Ryuu: Thanks! Now letâs all fall in love with TRIGGER together! Last, Tenn!
Tenn: Everyone, once again, thank you all for coming to Pia Arena today. Ryuu just gave a great intro, but I feel like I can't let him beat me. Mind if I say something too?
*cheers*
Tenn: Thanks. Here I go⊠Everyone. I love you deeply. Keep your eyes on only us. *laughs* Letâs have some fun together today, okay?
Gaku: Hey, hey, whatâs with you two? You look like youâre enjoying yourselves.Â
Tenn: Stop talking about my and Ryuu's fan service with all the enthusiasm of going to a festival.
Ryuu: You should give it a shot, too, Gaku! I bet everyone wants to see some cool fan service from you as well.Â
Gaku: Fine then, I will! Guys, I love ya.Â
*cheers*
Tenn: Wasnât that nice, Gaku? Maybe you should try talking with that kind of fan service enthusiasm all the time. You're always so hot-tempered.
Gaku: What the hellâs that? Itâs winter now, so itâs better to be hot.Â
Tenn: Depends on the temperature.Â
Ryuu: Hey now, just yesterday the three of us rode the merry-go-round together so happilyâŠ
Gaku: Yeah, it felt like we were kids again. It was fun, right?
Ryuu: Right? We even had a contest for who looked best on the merry-go-round.
Tenn: Everyone. Naturally, I won.Â
Gaku: Well, it was unanimous. But if it had been a roller coaster, I wouldâve won.Â
Tenn: Is that worth being happy about winning?
Gaku: Of course! Itâs powerful.Â
Tenn: You would focus on that. Thatâs cute. For Ryuu, I think heâd suit the ferris wheel best.Â
Ryuu: Really? Iâm glad to hear that. Yâknow, I was looking back at the photos we took at the amusement park yesterday and it made me feel really happy I had more memories of the three of us.
Gaku: RyuuâŠ
Tenn: Iâm happy, too.Â
Ryuu: You two⊠the closeness of our MC section kinda feels like Re:vale-san. That makes me happy.Â
Tenn: Well, Re:vale-san's MC style is... how should I put it? To put it gently, it's really pretty intense, right?
Gaku: Nothing wrong with that, right? We're great when we nail it, but sometimes it's nice to just have an MC where we all have fun together with every single fan here. Right, guys?
Ryuu: Thanks everyone! The three of us will keep working hard this year so stick around!Â
Tenn: Thank you very much. Hearing your voices call out to us is truly encouraging.
As part of the A10TiON PLEASE!!!! program for the 10th anniversary, the cast did a live-reading of a short scene. Here is my fan translation for Re:vale, TRIGGER, and IDOLiSH7 (ĆčOOÄ» was already done here!), so please enjoy!
A code was embedded in the lyrics to match the drama.
Masaki Erika-san's relationship with IDOLiSH7 began with the group's song "MONSTER GENERATiON." This song was also the debut song for i7 as a whole.
"When I saw the materials they gave me at the time, my first impression was, âWow, these dazzling kids are going to sing this!â That was over seven years ago."
Masaki also decided on the song's title. A notable feature is the lowercase "i." Since this song, many of IDOLiSH7's songs have included a lowercase "i."
"At first, I wanted to leave a hook, so I chose the title to match the "i" in IDOLiSH7. I hoped the title would leave a lasting impression.
The songs in "IDOLiSH7" are written with the premise that they are actually released by the idols in the show. In particular, songs with an "i" in them give the impression of being released when IDOLiSH7 was making a move or facing a turning point.
"Since each song has meaning in the drama, I carefully read through Tsushimi Bunta's script before writing. Even when I have to finish writing before the script is complete due to schedule constraints, I write after reading the plot outline. When the finished script and song align perfectly, I feel happy, thinking, âMaybe I understood it correctly after all.ââ
Although she has written lyrics for other groups, by far she writes for IDOLiSH7 the most. Having watched the seven members for over seven years, Masaki shared her impressions of them as follows:
"They move forward hand in hand, saying âLet's help each other and work hard together,â but fundamentally, I get the impression they're all standing on their own two feet. They're all different individuals, so they'll probably never fully understand each other. Even so, they're determined to coexist with these âothers they can never fully understand.â Especially reading recent scenarios, I feel their resolve to âwalk this path together as seven, through our own volition.â"
Masaki-san describes herself as âthe type who thinks things through logically.â When writing lyrics, she does it all at once, sometimes finishing in just 2-3 hours.
âI decide on the song title first, then concentrate and write it all out. The one that took the longest was probably âSakura Message.â I think it took about a whole day. That song required hiding a code in the first chorus.â
âSakura Messageâ is the song that made Kensho Ono say in an interview that it âgave him goosebumps.â Someone bribed the lyricist to sneak âa certain messageâ for Nagi Rokuya into this song's lyrics.
âThe request was, âWe want to use this as a threatening letter, so we want you to include a code.â Of course, I was surprised, but I thought it was incredibly interesting. Bunta-sensei, who came up with the idea, is a genius after all. I doubt we'll ever have to hide a threatening letter in lyrics again, so I threw myself into the work and had a lot of fun.â
The key to deciphering the code lies at the beginning of the song:
"I think just two letters will do just fine, though I struggled to find just the right words.
One week later, we just need to piece these notes back together"
"One week later" means the seventh letter, then add the following sounds to be the "two letters." By looking at the lyrics sheet and stringing together two letters from each line, a certain phrase emerges. Seeing that phrase, it makes sense why Ono-san got goosebumps. [1]
"At first, I thought it was fine if people didn't notice the code until it was revealed in the story. Maybe it's a happy thing for the beautiful melody to remain just that. But after releasing it, more people started noticing it over time. That brought me joy too."
 Knowing the code is hidden makes it seem terrifying, yet both the lyrics and melody of this song are incredibly beautiful.
âThe fundamental premise is that this is a song for IDOLiSH7, celebrating their first anniversary in the story, to convey âthank youâ to all the fans. I wrote it hoping to express heartfelt gratitude and kindness that truly seeps from the soul, making sure not to break that core essence.â
At the time, some users said that they found the song difficult to listen to after learning of the code. What does an idol's song mean to their fans?
"Songs serve as business cards for idols. New songs are their freshest business cards at that moment. For fans, receiving them is a happy thing, and I think there's also a desire for them to always have wonderful business cards. So I can understand why it becomes painful.
While creators wish for the characters' happiness, they also tend to enjoy giving them a weapon that serves as a hook. Part 4 depicts the story after IDOLiSH7 discovers the code. I felt this song was saved by that bittersweet yet warm story, so I would definitely recommend reading the story."
Words set to song that evolve with time
Every time you listen to a song, it brings back memories. Masaki cites "Nanatsuiro REALiZE" as a particularly moving song.
"I have memories for all of the songs, but if I had to choose, this one made the strongest impression. It's a song that sums up Parts 1 and 2, and the music producer who was in charge of me at the time praised it, saying, 'The lyrics are perfect for IDOLiSH7.' It felt like I'd finally achieved what I was aiming for. It was also striking that the color was a little different from IDOLiSH7's previous songs. At the time, IDOLiSH7 sang a lot of up-tempo songs, but this song is medium-tempo. I felt like it marked a moment where they'd evolved a step further."
"I made changes to the lyrics to match that," says Masaki-san. The lyrics, âHey, what if instead of looking to the future, We just lose ourselves in the today?â is one example of those changes.
"I wrote about a change in their perspective, from running forward with hope for the future to becoming absorbed in the irreplaceable 'now' they have as idols. Since this song, I've also changed the words I choose. I avoid saying âI like youâ or âthank youâ directly. Of course, âI like youâ and âthank youâ are wonderful words as they are, but it's like the resolution of their words has increased, and they are now able to express their feelings in different ways."
IDOLiSH7's latest song, âWONDER LiGHT,â was written with the theme of a nighttime amusement park. This song, also notable for being composed by Ayase, is currently the opening theme song for the airing anime.
"I inherited the ânightâ theme from the second season's opening theme song âDISCOVER THE FUTUREâ, written by Yuki Aira, and was then asked to write âTHE POLiCYâ for the first cour of the third season, and now âWONDER LiGHTâ.â
Season 3 has many dark and heavy developments. But I wrote the lyrics hoping to convey the hope found in the darkest of nights, along with the idols' desire to remain idols."
The script guides the lyrics
Within the fixed number of syllables, Masaki-san has woven the idols' dramas and growth into lyrics. The book she brought today, as âa book that shaped Masaki-san,â was Osamu Dazai's Tsugaru.
"Dazai is one of my favorite authors. When I was younger, I thought he was a strange guy (laughs). But as I've gotten older and grown up, I've come to appreciate the beauty and intrigue of Dazai's words. Tsugaru is like Dazai's travelogue, and it teaches me the kind of person Dazai was, the creator of so many masterpieces. The process of learning about the background is somewhat similar to content production, isnât it."
She also likes mystery novels by authors such as Higashino Keigo, Nukui Tokuro, and Arisugawa Arisu, and reads them often. She says she enjoys the IDOLiSH7 screenplay, which also has a mystery element, not only as a professional but also as a reader.
"I was a singer for a while, and I thought, 'This kind of entertainment world could really exist.' Bunta-sensei writes about the people and events in this world in a way that cuts deep. Reading it, I feel cut too, and it hurts. But that pain is also kind of comforting. That's why I keep reading it over and over again."
Masaki cites Momoâs lines from Part 3, saying, "I saw the true essence of 'IDOLiSH7'."
"We're not stars... We're doing our best to stick foil all over our bodies and pretend we're stars. Because there are people who look up to us. We want to smile at least in front of those people, so even though we can't fly, we desperately pretend we're floating in the air."
"Momo's words brought tears to my eyes. They're human beings just like us, and theyâre desperately trying to fulfill their roles. That's what being an idol is. Through their stories, Bunta-sensei teaches me about idols, about groups, and about each individual. That's why I don't have any trouble writing lyrics."
---
[1] This tumblr post has a translation for a Japanese fan who did an excellent job laying out the original Japanese code.Â
I'm constantly at the mercy of Tsushimi-sensei's calculated schemes (laughs).
As Riku has grown, so has the acting
"The first scene, where Riku and the seven of them gather for the audition, felt so real, like, 'This kind of thing really happens.'"
Ono Kensho, who voices Nanase Riku, recalls his first impression upon reading the script:
âAt first, I thought all seven members would debut together. But then I was told four would be cut to form a trio, and I was shocked. I'm no expert on the idol industry, but I thought, âthat's just how the entertainment world works, isnât it.â It even made me wonder, âWhat is the ideal number for an idol group?â (laughs). As the voice of Riku, I still think seven members is best.â
His impression of Riku is that he's "genuine, hardworking, and has a very strong passion for being an idol."
"But at first, he was like, 'I'll make up for my physical weakness with sheer guts.' But after experiencing a lot of things, heâs come to the point where he thinks, âI should rely on others when I can.'"
The biggest catalyst for Riku's change of attitude was his poor health and the resulting change in center position.
âDuring the concert, Riku's condition deteriorates, preventing him from performing the encore. At that time, IDOLiSH7 was gradually gaining recognition, and Riku also wanted to catch up to Kujo Tenn. Breathless and struggling, Riku apologizes for failing to fulfill his role as center. Acting that scene was truly painful... Later, when it was decided that the center position would be passed to Iori, he said, âHonestly, I felt relieved.â Even though he kept saying things like âI can do itâ and âI'm fine,â he didn't really know if he could, and he was pushing himself beyond his limits in so many small ways. I understand that feeling well, so it made me feel miserable too."
Things didn't always go as planned. But by joining hands with his friends and continuing as an idol, his dream of âbecoming an idolâ gradually transformed into âreaching the pinnacle of idols.â From Riku now, you can sense a dependable presence.
That change is also reflected in the tone of his voice. Ono-san, too, has been updating the way he plays Riku.
"Through the dubbing for the anime, the image of Riku as a character became clearer to me. Not just for this project, but for all games, recording is generally done alone. However, for anime, the cast gathers in a dubbing studio to exchange lines. When you're alone, you can only imagine the other person's reactions, but this way, I can intuitively grasp, "So Riku would react like this." Since I've been recording the story and in-game voices from Part 4 onwards with the image of the character I got from the anime, some people may find that their impression of Riku is different from before. If you think of this change as an update, and feel that Riku is progressing in a better direction as he has grown mentally, I'll be very happy."
At the closing remarks of the 7th anniversary event for IDOLiSH7 held this past August, Ono-san stated, âIt's truly amazing that they can keep releasing new content without any breaks.â Upon asking once more about the reasons the work is so belovedâŠ
âEverything, right? The idols themselves, their dramas, their music, the anime's quality,everything. Personally, what draws me in the most is the exceptionally interesting story. While reading, I find myself thinking, âPeople like this must exist in real life,â and above all, I'm constantly surprised by the plot twists. For example, there's this wonderful song called âSakura Messageâ. Hidden within its lyrics is a code... and the content is terrifying! Just thinking about it now gives me goosebumps. Tsushimi Bunta-senseiâs scenarios are truly full of surprises. You think, âSuddenly something outrageous happened!â, but actually, the foreshadowing has been scattered throughout the story for ages. Looking back, I realize, âOh, that was foreshadowing too?â or âWhen did they plan to pull this off?â and I end up rereading the script again. I'm completely at the mercy of Tsushimi-senseiâs calculated schemes (laughs)."
Once he gets hooked, he can't stop!Â
Things that make Ono-san's eyes light up
Riku has spent much of his childhood reading books in his room, and reading is his hobby. Ono also loves to read. There were so many books he introduced us to that it's difficult to list them all. "When I find something great, I want to share it with everyone," he says with sparkling eyes.
âThere are many to choose from, but for novels, it's Morimi Tomihiko's The Night is Short, Walk On, Girl. Ever since discovering this book, I've made it a point to visit Kyoto every year. You know how they say âlove is blindâ, and I just can't get enough of the senior's reckless, headlong rush. It makes me think wistfully, âI wish I could have spent my student days like that too.ââ
"Recently, it's become a daily routine for me to read manga before going to bed," says Ono-san. He mainly reads e-books, and a wide variety of genres.
âFrom grotesque seinen manga to bittersweet romance shoujo manga, I read everything. Books contain worlds I don't know and people with perspectives I don't have. I feel like encountering them broadens my horizons.â
Of the manga he's read recently, Ono-san recommends This Communication. "Once I started reading this, I couldnât put it down," he says.
"It's a story set in a world where most of humanity has been wiped out. The relationship between Commander Deluha and the six incredibly strong, physically-modified girls known as Huntresses is fascinating. If they die,The Huntresses can revert to their state one hour prior to death. This creates a one-hour memory gap. Deluha exploits this, killing Huntresses when it suits him and doing as he pleases. But eventually, Deluha's weaknesses start to showâŠâ
Once he gets absorbed in a book, he can't stop. He says that he often reads before bed, but before he realizes it, it's already morning. He laughed, saying, "I'm always sleep-deprived."
The next one he takes out is Sanctuary, a manga that began serialization when Ono-san was a baby.
"This might be my favorite manga I've ever read. It's about two classmates, one of whom becomes a politician and the other a gangster, who decide to change the corrupt Japan. It's an older manga, so it might seem unappealing to women, but the way these two reform Japan from both the inside and the outside is incredibly cool. The ending is also great, so I definitely recommend it!"
The recommendations keep coming with Skip and Loafer, Nagi's Time Off, Blood Tracks, Nostalgia Taro, and more. He talks with such joy that itâs infectious.
Ono-san shows us a different, more fun-loving side of himself at IDOLiSH7 live shows. His performance was so impressive that Tsushimi-san commented, "The cast has changed the impression of ZOOL," and director Bessho was inspired to "reimport the live performance into the anime." It's as if you're inside the show, but what is Ono thinking about when he takes to the stage?
"I'm not conscious of trying to become Riku or anything like that. I just approach it as I am. But just like the idols in the show, we cast members truly enjoy the live performance. It's this commonality that makes it seem as though the live venue and the world of the show are connected."
Every IDOLiSH7 concert incorporates a visual link to the music video and anime. At their first concert, they recreated the music video for RESTART POiNTER, the song in which Riku returns to the center.Â
"Actually, I didn't know they were linking to the video until the concert was over. Maybe I just missed it... But thinking back, during lessons, my dance teacher would be so particular about my standing position and hand angle, and I always wondered why. I never imagined we were doing the same movements... I was so engrossed during the performance that I didn't have time to pay attention to what was playing on the screen, so when I saw the video later, I was moved."
"I want to continue doing live concerts," Ono-san said passionately.
"Many of the other cast members also love live performances. Even at the 7th anniversary event, they were saying things like, 'Since we're all here together, ideally, we'd love to do a live performance too.'"
The enthusiasm for live shows stems from âthe joy of getting direct reactions.â Receiving the passionate feelings of the project's fans naturally makes them want to give something back.
"With voice acting, you usually only get a response once the work is released, so it's very refreshing to receive a reaction right then and there. It gives me a sense of accomplishment, knowing that what I'm doing is not wrong. Seeing the audience having fun makes me happier too. It makes me want them to enjoy it even more.â
How did the anime IDOLiSH7 come about, with its beautiful visuals and diverse direction, creating a captivating story? We spoke with director Bessho Makoto, who oversees the anime's production.
Wanting to convey the feeling that anime and reality are connected
Crafting expressions, even for characters not visible on screen
"When I first heard about this project, I wondered if I could direct a glittering idol story."
So says Bessho Makoto, who has been the director since the first season of the TV anime (January 2018). Director Bessho has previously worked on many projects that seem far removed from "idol anime," such as directing and storyboarding "Attack on Titan" and "Space Battleship Yamato 2199."
"But then Bandai Namco Online told me, 'It's an idol story, but it's also about their fighting spirit.' And it's true. When I read the first part of the original manga, it was more sweaty than sparkly, and it really emphasized the human qualities of the idols. That's when I thought, âI can do this,â and decided to take it on.â
Anime is generally structured as 12-13 episodes per season. However, the IDOLiSH7 anime doesn't fit into that framework, with the first season following the story of the first part of the original work, and the second season depicting the second part. The third season was even split into two cours due to the sheer volume of Part 3's story.
âIt is a bit of an irregularity, isn't it? (laughs). But I believe the biggest reason this work has been loved for so long is the drama's compelling storytelling. It doesn't just show the glittering, glamorous side of idols; it also mercilessly and realistically depicts the messy, gritty human aspects that make you think, âWow, that's tough.â To condense it into 30-minute episodes, there are parts we have to reluctantly cut. But this realism is something we absolutely refuse to compromise on. When adapting source material, I always keep in mind that we must faithfully translate the essence of the original story into the visuals."
While preserving the worldview of the original work, there are several things the director is particular about in order to make the story more three-dimensional. One of these is the changes in facial expressions. The story of the original game basically progresses using only character portraits and stills. However, for the characters to come to life in the anime, more facial expressions are needed. Director Bessho worked with the original author to create expressions for the idols that weren't depicted in the script, including how people who wouldn't normally appear on screen would look.
"In the anime, we try to include scenes that show the listener rather than the narrator of the dialogue. For example, in episode 13 of season 1, Osaka Sogo reveals his past to the other members. You can imagine what his expression will be, but by depicting the expressions of those around him at that moment, we can show the feelings and personalities of those around him. I take care to ensure those expressions feel genuine. Because the moment viewers who've immersed themselves in the story think, âWould they really make that face in this situation?â it completely kills the immersion."
Because the characters' expressions are so diverse, even a single smile can have meaning, which is unique to the anime. There are also many shots where expressions are deliberately not shown to avoid giving away spoilers about the story.
"Until the end of the second season, it's not revealed that before their debut, Re:vale was a duo consisting of Yuki and another member, or that the original member was Ogami Banri. That's why, in episode 1, when Banri tells IDOLiSH7 that they'll be performing with Re:vale, we deliberately included a shot showing only the lower half of Banri's face. It becomes clear later on that, in fact, Banri looked happy as he talked about Re:vale. I hope that by sprinkling these kinds of meaningful shots where the expressions are unclear as foreshadowing, it will be fun to check the answers later."
Another area they paid particular attention to was linking the characters to real-world locations and events.
"What kind of place do the idols live in? What is the town like? We've set out as much detail as possible, even for non-visual elements. Streetscapes and buildings are often modeled after real places. We also incorporate elements from live performances where the cast has appeared on stage. I was blown away by the cast's performance when I saw their first live performance. By recreating that intensity in the anime, I wanted to create a sense of connection between the anime and the real world, blurring the line between two-dimensional and three-dimensional reality."
Expanding the story through meticulous direction
When asked about a memorable scene during production, he shared the metaphor used in episode 5 of season 3.
Nikaido Yamato agonized alone over his origins as the illegitimate child of a veteran actor's mistress, fearing that if it became scandalous, it might tarnish the name of IDOLiSH7. In Episode 5, there's a scene at the movie set where Yamato sits under an umbrella and talks with Yuki, the only one who knows his secret. Normally, the umbrella would be held upright, but here it's angled sideways. Seen from the side, the handle appears to be piercing Yamato. After hearing Yuki's words, Yamato makes up his mind and steps out from under the umbrella. The metaphor here is that the handle, a wedge of anguish that had been piercing and immobilizing him, is being removed."
Playing with the visuals to make the imagery more compelling. Professionals in the visual arts, who have been exposed to many different works, often incorporate what they have received from the works into their images.
âFor the umbrella scene, I wanted it to feel distinctly like Japanese cinema, so I consciously framed the shots with Ozu Yasujiro's films in mind. I watch all kinds of movies myself, and sometimes I catch myself grinning when I realize, âAh, this person must have watched that kind of work. If anyone noticed that in this scene, I hope they felt that âJapanese film vibeâ even more and got a little smile out of it.
As he expands his imagination, he adds depth to the screen, thinking, 'I'll try adding this expression,' or 'It might be interesting to incorporate that.' Idea man Director Bessho often incorporates novels he reads into his storyboards. Today, he brought along Kajii Motojiro's Lemon as "a book that made Director Bessho."
âI picked up this book after learning that Sada Masashi-san's âLemonâ was inspired by it. I first read it in my first year of high school. I didn't understand much back then. But as I reread it every few years, I gradually began to grasp the meaning behind the protagonist's actions, the nature of the âunknown ominous massâ he carries, and the significance of the lemon. It's a short story, yet profoundly deep. I feel like this story taught me what âquiet madnessâ truly is. I dreamed of how great it would be to be able to visualize the protagonist's rising and falling moods, and his daydreaming about the lemon he left behind exploding, but then I gave up, thinking, "I can't do that!" (laughs). It's still a book I pick up whenever I remember it."
It's been just under five years since the first season aired. Including the production period, I've been with IDOLiSH7 for a long time. The reason why it is still an interesting work even if you already know how it will unfold is probably because it has many of the details that are unique to anime. Finally, we asked Director Bessho about the highlights of the second season of the third season, which is currently airing and receiving rave reviews.
"Tsukumo Ryo's actions become more brutal, and TRIGGER suffers even more... It's an intense development from the very beginning. The second season also has many live concert scenes. Just before this interview, the V-storyboard (a storyboard made from video) for a live scene of one of the songs was completed. Even at the storyboard stage, it was amazing, so I hope you will enjoy it as if you were watching a live performance. There are still some issues due to the current times, but if I could make a wish, I'd love to hold a screening event for the live scenes someday. A support screening for the drama parts would be great too. It'd be fun to have the venue filled with everyone squealing and exclaiming 'Wow!,' which you wouldn't expect to hear from an idol anime."
Hiiii!! Did you see that futarijime romanticâs mangaka is starting a new serialization soon? Do you have planned to work on it? Anyway gonna use this post to thank you for translating futarijime romantic bcs thanks to you, a lot of us got to know this story <3
I did see that! It looks adorable. I'm very excited to read it, and while I'd certainly like to work on it, I need to read a couple chapters first to gauge how much work it'll be and to make sure I'll be able to do it justice. I'd also prefer finish up Yamada's Class Diary and Master of the Ghost Castle first before picking up something new, since both are ending/ended.
Either way, thanks for your kind message! I'm still hoping it gets licensed someday so even more people can read it.
After reading the first chapter, I thought it was adorable and got excited and started working on it. I had the whole chapter cleaned and about 15 pages translated and type-set when I saw someone else already picked it up. So I guess I won't be doing it after all. NGL I'm sad about that.
Hiiii!! Did you see that futarijime romanticâs mangaka is starting a new serialization soon? Do you have planned to work on it? Anyway gonna use this post to thank you for translating futarijime romantic bcs thanks to you, a lot of us got to know this story <3
I did see that! It looks adorable. I'm very excited to read it, and while I'd certainly like to work on it, I need to read a couple chapters first to gauge how much work it'll be and to make sure I'll be able to do it justice. I'd also prefer finish up Yamada's Class Diary and Master of the Ghost Castle first before picking up something new, since both are ending/ended.
Either way, thanks for your kind message! I'm still hoping it gets licensed someday so even more people can read it.
Thank you for your scanlations! Can you please repost your discord link. It says itâs invalid or expired.
Thanks! Not sure how old this ask is, but I checked and the link is expired now so here's a new one anyway. I continue to not know why Tumblr doesn't alert me when I get new asks.
Hi! I want to make a video talking about the interview with Bunta you recently translated. Thank you so much for your work btw!!!! Would it be ok to read parts of it and link/point back to your blog as the source? My typical handle across YouTube and TikTok where you can see the kinds of video content I make is flyhinata. Thank you!
Sure thing, thanks for asking! It's a super interesting interview. You can credit here as Kyun Kyun Scans, or my twitter where I do most of my i7 stuff as Rena @ i7nighttemp.
This interview is from the Nov. 2022 edition of Da Vinci, which included interviews from writer Tsushimi Bunta, director Bessho Makoto, Riku's CV Ono Kensho, and lyricist Masaki Erika. We'll start with the interview from Tsushimi Bunta.
This is a fan translation by me for fans, so please forgive any mistakes.
Captivated by the existence of fans who supported the words and actions of their oshi and offered kind words.
When the project first began, Tsushimi-san didn't know much about the idol industry.
"In order to create a story, I conducted extensive interviews and research into the idol world," says Tsushimi-san, and as soon as they began their research, was captivated by what they saw: the voices of fans flooding social media.
"Social media, with its high degree of anonymity, is often filled with slander and abuse, right? However, many fans were supportive of the actions and words of their oshi and shared very kind words."
What kind of idols are able to inspire such beautiful words from their fans? After interviewing people close to the industry and conducting in-depth research, they came to understand the reality of the idol world.
"The idols we see on TV always look shiny and happy, but in reality they live in a very tough world. It can take years to debut, and even if they do, they have many rivals. There are hardships, like begging on hands and knees on the ground just to keep going, but I also learned that there are many joys, and I found it to be quite dramatic. I really wanted to convey that through the story of IDOLiSH7. It may be stressful for readers, but I thought that portraying the harshness of the industry in detail would also be a way to show respect for the people who are actually living as idols."
They also focused on creating characters who could become someone's oshi, or favorite. In i7, detailed backstories aren't just for the 16 idols, but also for managers and other related characters. There are countless unexpected connections between all of them. If you were to draw a character relationship chart, the sheer number of arrows flying everywhere would likely fill the page completely black.
"The producers at Bandai Namco Online provided me with a fairly comprehensive set of character traits and settings. From there, we developed the characters by delving deeper and asking how they would act in certain situations and proposing additions like, what about adding this kind of setting or scene? Itâs especially common for app games to release event stories regularly alongside the main story, and if you don't have enough background for each character to create a full drama, you'll run out of material when it comes time to spotlight someone in an event."
When writing characters, it's important to keep in mind the "limits of visibility"
"For example, take the twins Nanase Riku of IDOLiSH7 and Kujo Tenn of TRIGGER. They care deeply about each other, but what they see and what they want to see are different. Riku wants his older brother Tenn to acknowledge him and wants to pursue idol activities together. On the other hand, Tenn worries about Riku and wants him to stay calm and avoid anything that might burden him physically or mentally. From Riku's perspective, he can only see this far; from Tenn's perspective, he can see that far. But there are things neither can see. Even if they are looking at the same thing, they perceive it differently. We establish each character's perspective first, then expand the story from there."
The original character design is by manga artist Tanemura Arina-san, known for works such as "Kamikaze Kaito Jeanne" and "Full Moon wo Sagashite."
"I remember being very surprised when I heard that Tanemura-sensei would be creating the character visuals. Tanemura-sensei is a well-known manga artist, and I didn't associate her with game character design. Tanemura-sensei was also in charge of the comic adaptation of i7, and has previously drawn the story of the daily lives of IDOLiSH7 and the early relationships between the group's unit MEZZO in 'Wish on a Shooting Star', the inside story of TRIGGER's formation in 'TRIGGER -Before The Radiant Glory-', and the story of Re:vale in 'Re:member'. The girls that Tanemura-sensei draws are so charming, they're irresistible. I still love Sasaki-san, an original character who appears in 'Wish on a Shooting Star'. Iâd be thrilled if I could encounter another i7 drawn by Tanemura-sensei someday."
The reason it shifted from an idol training story to a human drama
The main story of "IDOLiSH7" has been released up to Part Five. The first part starts by telling the story of IDOLiSH7 from their formation to their debut, mainly from the perspective of their manager, Takanashi Tsumugi.
âLive performances succeed or fail. Promotions fall flat. Part 1 focused heavily on the manager's perspective as a story about creating idols. However, scenes showing Tenn's views on idols or IDOLiSH7's emotions when facing hardships resonated more than the idol development itself. That made me wonder if shifting focus from development to a âhuman drama depicting idolsâ inner lives' might be better. So from Part 2 onward, I decided to write while focusing on the idols' inner worlds. If we hadn't gotten that response back then, I don't think the current i7 would have been born."
Tsushimi-san's way of writing scenarios is thoroughly logical.
âI do sometimes wonder things like, âDoes this person come across as properly villainous?â or âIs he getting enough screen time?â But I never empathize with the characters to the point of feeling their pain or joy. I do sometimes reread my work later and laugh at my own jokes, thinking, 'Did I really write this?' (laughs)."
However, once you step away from the medium of visual novels, the characters begin to be perceived not as the characters you created, but as people within the story.
âWhen I'm writing the scenario, I don't get emotionally invested. But the moment I see the comic adaptation or the anime, I suddenly start empathizing. I cried over the Re:vale episodes drawn by Tanemura-sensei, and in the anime, when Izumi Mitsuki accidentally overheard the fans' voices and struggled with it, my heart was in a constant knot the entire time.â
The form we see âexhaustionâ take in i7
When writing scenarios, it's precisely because unnecessary emotions aren't injected that the hardships befalling idols often feel relentless. Their debut song gets stolen, they fail a crucial performance that could determine their debut, they're framed in scandals, or they confront their wrong-doings only to be denied forgiveness. It's pretty... no, it's downright grueling.
"From the first chapter onwards, people have been saying it's 'exhausting'. But itâs not like I'm trying to make it exhausting for them..."
That "exhausting" feeling doesn't just mean "it's exhausting and painful to see your favorite idol get hurt," but also "it's exhausting and painful precisely because you understand it." Along with depicting the idols' lives, i7 almost always depicts the voices of fans.
âIf the setting is a medical dramaâs hospital, doctors and patients are bound to appear. In the same way, if there are idols, it felt natural to me that fans would be there too.â
Among the many voices, there are some harsh words, too. For example, in Part 2, IDOLiSH7 changes their center member. Due to poor health, Riku gives up the center position to Izumi Iori for a certain period of time. Naturally, the fans are unaware of the circumstances. Iori's fans are happy, while Riku's fans express their displeasure. Riku and Iori witness their respective fans reject each othersâ oshi.
"This isn't something that's exclusive to idol fans, it's something that can be said about us all too. We have all kinds of opinions, preferences, and each of us has our own sense of justice. When there are conflicting points, we clash. The other person can seem like an enemy. But when you feel like you're under attack, maybe the other person feels the same way. I hope we can pause and consider that the words we use to dismiss someone might actually reach their ears. I wrote this hoping that by depicting many different values, we can try not to hurt each other, and not treat someone else's favorite things badly."
The Re:vale episodes introduced in Part 2 are also tough. During their indie days, Re:vale wasn't Momo and Yuki. After Yuki's original partner went missing, Yuki was about to quit music. Momo, who was a fan at the time, begged him, saying, âJust five years is enough,â and thus the duo of Momo and Yuki was formed.
Even though Momo adores the previous member too, he still finds himself wishing they wouldn't come back. He despises this part of himself and doesn't want his partner to know about it. Even if you haven't experienced that jealousy or shame like Momo, you understand those feelings.Â
âAt the root of Re:vale's story lies the struggles of succession. Momo has the determination to do his best, but he also feels anxious about whether he can become as good a partner as his predecessor. Meanwhile, Yuki is positive about working alongside his new partner, yet also wants to be recognized by his predecessor and to continue to rely on him. To Momo, that feels like a sign of regret and lingering attachment.â
In Tsushimi-san's book, âNovel: IDOLISH7 Re:member,â the story spans from Re:vale's indie days to their fifth anniversary since their debut.
âWhen Part 2 released, the publisher asked us to flesh out the story by writing about the past ten years, from the meeting of the original Re:vale member, through Momo regaining his singing voice, to the success of their 5th anniversary live. They wanted us to capture the new Re:vale member who appeared in Part 2 and hope fans would love him too. Through the novelization, I believe we were able to show the love and attachment within Momo, Yuki, and former member Ogami Banri, and the kind of heartrending vulnerability that arises from it. Seeing how much the current Re:vale is loved by so many people, including these stories, makes me extremely happy."
What they wanted to portray with the bad guys
As Part 3 began, while the 12 idols were being loved by users, the four-member idol group ZOOL appeared. When they first appeared, they were seen as "the ones who would devour the idols.â They were given the role of the bad guys.
"In the third part, we wanted to create a story where the idols can reveal new sides of themselves as they defeat a common enemy, so we introduced a talent agency employee called Tsukumo Ryo, and ZOOL, an idol group that debuts under Tsukumo."
Tsukumo is the top villain among the characters appearing in i7. Using underhanded tactics to seize control of the entertainment industry, Tsukumo relentlessly pursued his goals: spreading rumors about Yaotome Gaku, fabricating a scandal about Tsunashi Ryƫnosuke's relationship with a woman, and ultimately bringing down TRIGGER.
âWhen creating villains for i7, I envisioned a fan that other fans would dislike. Tsukumo originally loved idols, but his sadness at not receiving fan service caused him to turn into an anti-fan. Tsukumo is a person whose love was never fulfilled and so became warped. Yet, even though he came to hate idols, everyone around him still adored them. Feeling left behind and alienated, Tsukumo arrived at the thought, 'If only everyone would stop enjoying them.'
To position Tsukumo as an enemy, he must be a formidable, challenging foe. IDOLiSH7, TRIGGER, and Re:vale are all idols with immense power. Re:vale even has connections in the industry. One of the reasons why Tsukumo has become such an exceptional character is the strength of the idols in i7."
Tsukumo set his sights on four young men, Isumi Haruka and others who harbored pent-up frustrations, who would later become ZOOL. Just as Tsukikumo had envisioned, they end up lending him a hand.
âEven in our world, people with unshakable convictions are actually quite rare. Some people, when tired, need only a light nudge at their back to suddenly stray from their path. ZOOL was a gathering of people who wanted others to have high hopes for them, wanted to be chosen, wanted to be appreciated by someone. But when things didn't go as planned, they began to look at the joy and happiness of others in a negative light. It was at that moment that Tsukumo's hand was placed on their backs.â
Tsushimi-san prefaced their remarks by saying, âLooking back now, maybe my impression of things was off,â but added, âI wrote about ZOOL with confidence, knowing there are definitely people who love bad guys.â
âBut there were also harsh voices directed at ZOOL, seeing them as a threat to existing idols. And those voices were louder than I could have imagined. Amidst that, a live concert was held where ZOOL's cast members took the stage. It was just as Part 4 of the story had begun updating. Though they were starting to confront their mistakes, users still had their reservations... I was filled with a sense of guilt for the cast members who were performing on stage. But the ZOOL cast delivered an overwhelmingly powerful performance that erased all our anxieties. Looking back, I think that live event softened the harsh views many had toward ZOOL. I can't thank them enough."
While ZOOL begins to reform, salvation also comes to Tsukumo, who is now all alone. This is what Tsushimi-san had in mind.
"If you make even one mistake, you'll never be able to walk a pure path for the rest of your life. Such a world where forgiveness is never possible may, in turn, make it difficult for those who don't forgive as well. In a society where failure and mistakes are never forgiven, itâs possible no one would be able to express themselves in new ways or take on new challenges. If we can learn to forgive others who have made mistakes, then if we ourselves make a mistake, we may be able to think, 'Maybe they'll forgive us.' I'm not condoning evil, but I wanted to incorporate my feelings into the scenario: I hope that today's society can become one where we can be just a little more forgiving.Â
That said, what I wanted to portray more than anything was that TRIGGER remained cool no matter how terribly and unjustly they were treated. It shouldn't happen, but in our world, people can be branded with a stigma even if they haven't done anything wrong. And once your name is tarnished, it can be difficult to return to the way things were. TRIGGER is simply a victim in this case. However, they never give in to malice, never lose their pride, and continue to stand firm, achieving magnificent vindication. I wanted to show that kind of strength and coolness."
Bringing their gallant figures and courageous commitment to life in the real world
TRIGGER in Part 3 was incredibly cool, just as Tsushimi-san said. Unable to perform on TV or carry out activities like before, TRIGGER decided to stage a guerrilla live performance to show themselves to fans as soon as possible.
Shortly after this episode was updated in the game, the new music video for TRIGGER's song debuted on large screens across Japan, as well as at the location in Tokyo that served as the model for the guerrilla live concert. This clever direction, blurring the line between game and reality, became a major talking point at the time.
"I was overwhelmed by the sheer number of people that gathered there. I could sense the same passion and pride as revolutionary warriors from the people there. Watching them, it occurred to me that perhaps the enemy they needed to defeat wasn't Tsukumo, but me, the one who created the story that brought them so much suffering (laughs)."
We also spoke about Riku, who graces the back cover of this issue. Riku's overwhelming vocal power is also one of IDOLiSH7's greatest weapons. As the story progresses, Riku rapidly becomes a popular figure. Why do so many people find themselves captivated by something beyond just his stage performances? â One of the members, Iori, realizes it's Riku's unique âappeal.â
"If he was just a cute, energetic center, he wouldn't be able to stand as the core of this work. To be the face of a work, he needs charisma. So we decided to portray him as someone who moves people's hearts more than you can imagine. There are people like Nikaido Yamato who are good at acting, people like Mitsuki who are good at talking, and people like Rokuya Nagi who can also work as a model, and Riku can't compete with them. In fact, he makes mistakes and has a clumsy side. He's not perfect, yet somehow you can't take your eyes off him. People like that actually exist, right? Where does that appeal come from?"
Iori, a talented strategist, was only 17 years old when he started managing IDOLiSH7 without the members' knowledge, paving the way for the group to become popular idols. That's precisely why he felt uneasy about Riku's sudden, unforeseen surge in popularity. Realizing his âappeal,â and fearing that power could one day cause a major accident, Iori tells Riku, âLet me control you.â The act of one person trying to control another, and voicing that intent, is somewhat terrifying.
"This part was intentionally written to have a suspenseful feel. Iori has always looked at things from a management perspective. When Riku's appeal drew in so many people, how far could they, still inexperienced, safely control the energy of the public's emotions? If they failed, it could lead to a major accident involving human lives. But he also wanted to see how far IDOLiSH7, with Riku's charm at its core, could go. That's what he had in mind when he considered trying to control Riku."
Iori's control over Riku and his efforts to turn him into a top idol are similar to those of Tenn's adoptive father, Kujo Takamasa. Takamasa once produced the legendary idol Zero, an idol now revered as a legend and the aspiration of existing idols. However, despite pursuing their dreams together, Zero vanished suddenly at the height of his popularity. Takamasa, who continued searching for Zero, began to think about creating an idol who would surpass Zero.
âIf we were to create a bad ending for i7, it would involve Riku quitting being an idol and IDOLiSH7 would disband. Then, ten years later, there'd be a scene where Iori scouts someone, saying, âWhy not become an idol? I think you could even surpass Nanase Riku.â Although the link with Takamasa is that strong, I don't think Iori would become like him.â
What we see of Tsushimi through their books
Tsushimi's commercial debut as a scenario writer was in 2008. Prior to that, they had been active as a member of the doujin circle "TARHS Entertainment."
"I was invited by a friend to start doujin activities, and while exhibiting a game at a game fair, I was approached by a game company, which led to my commercial debut. I wrote novel-like pieces back in high school when I was in the literature club, but I only started writing this much after getting my current job. I'm grateful to have been given so many opportunities to write, and I think that helped me get used to the work quickly.â
These days, users say, âJust seeing the name Tsushimi Bunta makes the game worth looking forward to.â Such is the deep trust placed in the stories they write. The profound dramas that Tsushimi writes are not just "heartbreaking" but also filled with hilarious comedy scenes, and the good pacing makes them impossible to put down. These stories are born surrounded by stacks of reference books at home.
âI write silently in a corner of my messy room (laughs). My writing hours are all over the place. I'd love to live a life where I wake up in the morning and sleep at night, but professionally, I'm constantly chasing deadlines. Often, I can't sleep until my quota is done, and my days and nights get reversed. I always want to get my life rhythm in order, though.â
Tsushimi-san leads an "exhausting" life in some ways. In order to get to know the character from the books they read, we asked to be introduced to a few books that were "the books that shaped Tsushimi-san."
"Topelius's Hoshi no Hitomi (Starry Eyes) is a book that I was given by a relative when I was little, and I struggled to read it. Though I remember how difficult it was, I had long forgotten the contents. Then one day, someone mentioned that a book read in childhood influences one's current style, so I reread it. It's the story of a baby called Hoshi no Hitomi who possesses mysterious powers, but the ending involves this baby's disappearance. I thought maybe this is why so many people disappear in my own works... (laughs)"
The Meigetsuki (The Record of the Clear Moon) by Fujiwara no Teika, which they encountered in elementary school, is also one of the books that shaped Tsushimi-san. A particular favorite is Yoshie Hotta's Teika Meigetsuki Shisho (Personal Excerpts from The Record of the Clear Moon).
"Fujiwara Teika is known as the compiler of the Hyakunin Isshu, but he also had an incredibly harsh personality, and apparently would get into fights with important people and hit them with torches (laughs). Teika lived in the late Heian period, during a time of chaos in Kyoto, with the Genpei War and the relocation of the capital to Fukuhara. In one of Teika's Meigetsuki, he writes, âThe red flag of the warlords is not my business.â He's saying, âThe war may be fought for a just cause, but it has nothing to do with me.â Don't you think that's incredibly cool? I was thrilled to discover that such a cocky intellectual existed in this era."
With the introduction, "This is also interesting, so I recommend it," Tsushimi-san suggested the non-fiction book Guns, Germs, and Steel by Jared Diamond.
"It's a book that explores the mysteries of human history from various angles. I like researching people and often read psychology books, but having human history in mind has helped me understand people better."
Tsushimi-san apparently wrote the story of i7 by looking at idols from a psychological perspective. Perhaps the depth of their character portrayals comes from their extensive reading of psychology and human history.
The final book is a collection of poetry, which Tsushimi introduced as the style they aspire to. One poem in the book explains the beauty of Tsushimi's words.
"It's a collection of poems called Elegy at the Cemetery by Thomas Gray. I particularly like the poem Elegy Written in a Country Cemetery. It's decadent and gloomy, yet incredibly beautiful. Thomas Gray is said to be the inspiration for Gothic literature, and when I write suspense stories, I always aim to achieve this same atmosphere. But every time, Iâm defeated by him..."
An idolâs end is decided by the idol themselves
In the seven years since the series began, many new idols have emerged, while simultaneously, many idols have taken hiatus or disbanded. The emotions that arise from this mirror the feelings of fans depicted in i7.
âThe loss of something you poured love and time into. Just imagining it makes your heart feel like it's going to fall apart, doesn't it? You want to complain, wondering what all those years of support meant, and you feel like you might regret it. But when you ask yourself if the time spent supporting them was painful, the answer is no.â
In the story, Tenn poses this question to manager Anesagi Kaoru: "What do you think the ideal idol is?"
Anesagi's answer is, "Isnât it obvious? An idol that never ends."
For fans, their favorite idol is a "dream." Even if they can no longer appear on TV, the ideal is for them to continue being an idol, no matter what anyone says. Tsushimi-san describes this line as âsomething that could become a shackle.â
"It's wonderful when idols fulfill their fans' wishes. But at the same time, it can also shackle idols. No matter how much they love their job, if they're tied down as something that shouldn't end, they might end up feeling miserable. With the belief that these shackles shouldn't be taken for granted, we added President Takanashi Otoharu's words to the story of Part 5."
In response to Tsumugi's question about what's wrong with expecting idols to last forever, President Takanashi replied, "People who work with humans shouldn't expect eternity from those doing the work." Idols are sometimes called stars, and sometimes we forget that they're human beings just like us. But the human heart changes. Yesterday's dreams may no longer be dreams today. Even if the idols themselves have no intention of quitting, the people who support them need to be prepared for an end. Perhaps that's something fans should be prepared for as well.
âIt's okay if they don't stay on the front lines forever, but I just want them to show their face once a year. It's only natural to want them to keep going because you love them so much. But the decision to end or continue lies with the idols themselves. If they say âToday is the end,â we have no choice but to accept it. I think both idols and fans must coexist within the boundaries set for them. Staying a true fan requires tremendous self-control. Without it, you become a troublesome fan like Tsukumo. On the other hand, idols are grateful for all the support and love, but being overly controlled can feel suffocating. Both sides exercise common sense and restraint to avoid hurting each other. The idol world might seem like a place where they're just having fun, but they're actually doing something incredibly sophisticated. Not just the idols, but I want to tell the fans too, âYou should praise yourselves for doing something amazing.â
The sixth part of i7 is currently awaiting its release. The story up though Part 5 has shown ends of the idols, and multiple foreshadowed plot threads were resolved. This makes one worry that i7's end may also be approaching.
"Some plots have reached their conclusion, but I don't think the world of IDOLiSH7 will end. Even if I started to write a tragic ending, the producers at Bandai Namco Online would definitely stop me (laughs). These past seven years feel both short and long. Now that we've come this far, I'd like to aim for the 10th and 20th anniversaries."
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The other interviews will be translated and posted later. This one in particular has been a hot topic lately, so I wanted to post it as soon as possible. - Rena
