Nina

20↑ | i like to post about seiyuus. translator | legally blind + they/them + ask box is open if needed :)

[ninasankayo]

pinned post hi i am nina and i do seiyuu translation stuff (mostly tomori kusunoki-focused). japanese and okinawan dialect proficient. n3 jlpt. twitter | old youtube channel (ayumu's onions) | bluesky archive blog - not in use anymore as of June 2nd 2026 quick link search: subbed stuff | rentry archive post updates (2nd of June, 2026) - nothing (queue empty)

[ninasankayo]

decided to edit my archive to include my old youtube seiyuu channel. if you remember ayumu's onions... hey... thats me! I don't do video translations anymore but i'd appreciate it if you could check out my other content on here :) thanks.

[juniebuggle]

chieri! 💖 when I saw this post on twitter, I knew I had to whip up a quick drawing her in that first outfit! ♪(๑ᴖ◡ᴖ๑)♪

[ninasankayo]

Prima Porta First Single - Interview with the five members.

Originally posted on October 24th, 2024, on WordPress.

An Interview with Prima Porta, a 5-member girls voice actress unit and their debut single “CALL & GOAL!”

As the first Reiwa year comes to a close, a new voice actress unit has been born. The Girls Voice Actress Unit, consisting of Aguri Onishi, Mayu Sagara, Shu Uchida, Tomoyo Takayanagi and Yukina Shuto, have released their debut single “CALL&GOAL!” The five members, who are also active individually in a wide variety of productions, got together and spent a lot of time working with an impressive production team to create music, that is, to put it bluntly, fresh yet authentic. As this is their first appearance, we spoke to the five members about their debut single as well as their activities since their formation up to the present day.

Prima Porta finally made their debut on the 25th of December, 2019, as a member on Lis Ani! As this is their first appearance, could each member please introduce themselves?

Tomoyo Takayanagi: I’m Tomoyo Takayanagi. I’m the oldest in the group, so it always feels like I’m doing talk shows, lol. My hobby is going to idol concerts, and I really like Hello! Project. I look forward to working with you!

Shu Uchida: I’m Shu Uchida. I’m from Sydney, Australia, and my English is better than my Japanese, so sometimes my Japanese is not too good. I like watching movies and anime, and I also really enjoy cooking. I am looking forward to meeting you.

Yukina Shuto: I’m Yukina Shuto and I’m the member in charge of setting expectations for Prima Porta. I also seem to be in charge of Ponkutsu, lol. My special skills are eating and pickling plums.

Aguri Onishi: I’m Aguri Onishi. My nickname is Agupon. My hobby is reading and I am quite relaxed. Since I am the youngest, I thought it would be okay to say it like this, lol. I want to spend my time peacefully.

Mayu Sagara: I’m Mayu Sagara. I like singing, eating, sleeping, playing games and so on. I’ve been playing “Dragon Quest Walk” lately, and thanks to that, I’ve started walking! I’d like to continue to improve my physical strength with “Dragon Quest Walk”!

Prima Porta is a unit that consists of five people. Some of the members belonged to the same agency, but did you all interact wuth each other before the group was formed?

Mayuchi: Some of them I knew before Prima Porta, but I got to know the others very quickly.

Shukina: That’s right. All of us had met at least two members individually but it wasn’t until a year ago when all five of us heard about the unit activity, that we started working together.

So how did Prima Porta form?

Agupon: From our side of things, it was sudden. My agency contacted me all of a sudden, telling me that I was going to be meeting with a music producer, and I was also told to be neat.

Mayuchi: I had heard that they wanted to start a music unit at my agency for a long time. But when I heard that the producer was Kisara Yohei, I thought, “Wow, I know him! I know him!” I was surprised.

It was a sudden formation. You all individually produce music for characters and other projects, but how did you feel when you decided to form a group again?

Tomoppe: I was like, “They’re letting me do it at this point in time!” and I felt grateful.

Shukina: Everyone sings and dances as their characters, but I was worried that I wouldn’t be able to catch up.

From the formation to the present, the group has been doing dance and vocal lessons.

Tomoppe: I’ve been taking dance lessons since last Autumn. I’ve learnt the basic training and how to use my body.

Mayuchi: I felt very grateful because it was the first time I had been taught the basic movements, whereas in the past I had only been given a song and taught the choreography. It’s also made me think that I want to be in a group that has acquired proper skills.

Shukina: At first, they asked me if I could dance, and I really wasn’t sure if I could! I told myself, “I can do it”, but when it came to that time, it was so hard!

Tomoppe: I used to dance when I was younger, but now that I’m grown up, it’s harder, my body doesn’t move the way I imagined it would. As with dance lessons, I feel like I had to spent a lot of time working on my dancing skills, so I became a little self-conscious.

Shukina: Even though Tomoyo (Tomoppe) is the best dancer out of the five of us, she still keeps a lookout on all of us, and points out what we could improve on in our dancing.

Tomoppe: Thank you! Praise me more!

Shu: I used to do gymnastics when I was younger, and from there I did Jazz dance with friends, but I wasn’t really doing that much. We all started taking dance lessons in November of last year, and we all thought, “Dance is so fun…” The teacher also told me, “You have to find your own expression in dance”, but how do you find that?

Mayuchi: Shu is good at dancing. Because she has a strong core.

Tomoppe: I am also training my muscles.

Shu: I’m also doing muscle training at home. I also felt that in order to express myself in my own way, I needed to build up my physical strength, so I did training this morning.

In Prima Porta, you took lessons taught by Yumi Ishikawa, who is familiar with “Love Live!” But it seems that the lessons were quite hard.

Mayuchi: That’s right! Up until a couple of weeks ago, I always had muscle pain after our dance lessons.

Tomoppe: The studio we practiced in was always hot and the mirrors would fog up.

Shukina: The humidity in there would make it so the floors were slippery, and we would all fall over, lol.

Mayuchi: But now, my muscles are okay.

Tomoppe: Because of those days, everyone has started getting stronger and less out of breath. I think the five of us have definitely improved with our dancing.

Agupon: For example, when we were rehearsing a new song, we would all gather together and use the studio to check the together.

You also did independent training.

Mayuchi: Otherwise I’d be afraid to show up to the next lesson!

The results of those lessons can be seen in this debut single. Have you been taking vocal lessons for singing?

Tomoppe: I’ve been taking singing lessons for half a year!

Mayuchi: The first thing I didn’t understand was how to sing in my own voice.

Did you not understand how to sing in your own voice?

Tomoppe: Yes, I had to think to myself, “What is my voice if it’s not a character’s voice?”

Mayuchi: I think it’s easy to understand that a character’s song has that character’s voice, but when it comes to my own voice, it’s hard to understand it.

Tomoppe: I wondered, “Is this who I am?”. I think there is a certain amount of correctness when it comes to singing and dancing character songs, and I always try my best to get it right, but this time I was the one with the correct answer, so the answer is vague.

Agupon: You get to a point you start to say, “Who am I…” (Laughs)

Tomoppe: I never had any professional voice training before, so I learnt a lot about how to do vocalisation, and recently I’ve been told that I’m singing better at other jobsites.

After more than a year of lessons, the debut single “CALL & GOAL!” has finally been released. When did the members hear of the news of your CD debut?

Shukina: It was so sudden…

Mayuchi: It was during the time we were recording. I got given paperwork that said “Recording Session”, and when I asked, “What song is it?” I got told, “It’s your debut song.”

Agupon: I was like, “Oh, wow.”

Tomoppe: They were like, “This is the theme song for the Saitama Basketball Team.” And then one day I was suddenly recording it, and I couldn’t catch up with my feelings.

Mayuchi: And then when I thought it was over, they said, “We have two more songs for you to record this month!”

Agupon: Suddenly I recieved so many songs to record.

Even if you were suddenly told that, your mind would be preoccupied with next week’s lesson.

Agupon: That is true.

Tomoppe: I remember doing the recording and filming, but it didn’t really sink in.

With that in mind, we would like to ask you about the songs included in this album. First of all, the title track “CALL & GOAL!” – what was your impression when you first heard the song?

Shu: I was honestly really happy. I’ve wanted to sing since I lived in Australia, so when they told me I was making my debut, I was like, “Wow!”. I’m honestly happy that the five of us are releasing such an energetic song as our debut single. I think it’s a song that everyone can related to, and there are basketball-like words in various parts of the song, so I thought it would be great to relate to it in a lot of different places.

Shukina: Um, I used to rent DVD’s from a rental store, but it’s too far away now.

Hm?

Shukina: So I ran really fast to get there, but I realised I could run really fast while listening to this. It’s a song that makes you feel like, “I’m going to do it!” as you get to the chorus, and even though I was dressed in my pyjamas at the time, I was like, “Wow!” that I was able to run. I thought the power of the song was amazing at that time, and I want people who exercise and people who don’t to listen to it.

Agupon: I have to comment my thoughts after that… (laughs). “CALL & GOAL!” is an energetic, sparkling, idol-like song, isn’t it? When I first decided to sing it, I thought it might be difficult to sing with energy because I’m usually very quiet. But with the help of such a wonderful song, I was able to put my own energy into it. I think the combination of the voices of us five creates more energy to cheer people up, and I think it is a wonderful song that shows the freshness or sparkle of the girls.

Mayuchi: When I first heard it, it was so sparkling and I really felt like it was our debut song! It’s the kind of song that really makes you want to run out and say, “This is out debut song!” The lyrics convey a sense of strength, such as “A team play that shakes the world”, and I hope to continue singing with that kind of energy. During the recording, I sang the song while thinking about how energetic, bright and fresh it would be.

Tomoppe: At first we were talking about how we couldn’t really feel it, but we were happy to think that we could present this song to everyone as a replacement for our group name. Prima Porta has a system where the centre changes for each song, so I (Tomoyo) will be centre for CALL & GOAL!. I think we will be able to show our various types of music that will show the individuality of each of the five of us in each song, so that’s another thing I’m looking forward to.

Mayuchi: After the lesson after we shot the MV, Yumi said to me, “That was great.”

Agupon: I felt nervous until the very end of filming.

Tomoppe: I was really happy. Everyone put on their makeup and costumes and flipped a switch.

This song will be the theme song for the Saitama Broncos, a professional basketball team. The “GO GO! Broncos Edition” of this single will also include the Broncos’ cheering song, “GO! BRONCOS GO!”, and it looks like Prima Porta’s music will be heard at B.LEAGUE venues. This single also includes the song “Asayake Approach”, the ending theme song for the anime Arad: Gyakuten no Wa.

Tomoppe: In terms of recording, Ayasake Approach came before CALL & GOAL!. So when I first heard about it, I thought, “This is the approach Prima Porta will take.”

Mayuchi: We were going for this kind of style look. I’ve been practising dancing so much. It is certainly a melodious song with a different approach to CALL&GOAL!

Tomoppe: This song had Agupon at the centre of it.

Agupon: I was told to sing it gently and carefully, with a sort of refined image, just like the morning glow. Our five voices are well placed in balance, and there’s really a lot of harmonising happening.

The singing was impressive, but the harmonies were also very beautiful.

Agupon: This one was difficult. We’re known as a “Girls’ Voice Actress Unit”, and recording this song made me realise we have to sing well too.

Shukina: This is why you should definitely listen to it live.

Tomoppe: Amongst the many Voice-over idol groups out there, I don’t think there are many groups that play songs that are so full of harmony, and I think we want to make a difference with the quality of our vocals, or make that part of ourselves a selling point.

And another song, which is on the Prima Porta Disc is the song “☆Trill de Hajimacchau!” This is part of the NHK’s Anisong! Premium! and only the chorus has been played on the programme so far, as it is the theme song.

Tomoppe: I never thought it would it would have a full version. Before we started working as a unit, we were given the opportunity to sing the song through an opportunity to be involved with the programme.

Agupon: And then the full version was recorded.

The team behind everything is also creative, with lyrics by Aki Hata, composition by Masayoshi Oishi, Noriyasu Uematsu of Elements Garden, and arrangement by Ryutaro Fujinaga, also of Elements Garden.

Tomoppe: I honestly didn’t expect a full version of the song.

Mayuchi: That’s right. When we were recording the one for AniSong, I asked Masayoshi Oishi to make a full version.

Agupon: I really didn’t think it was possible…

Shu: I felt really surprised. At first, I recorded just the chorus and thought it was great when it was shown on TV. When they said, “We’re going to record the full version”, I was really moved. I want to cherish this song because it was written by an amazing group of people.

Agupon: It’s a song title you won’t forget that will have you saying, “Thank you, Aki Hata!”.

Shukina: This song was the first song that all five of us sang together, and we heard about it when we were all gathered together, so we were like, “What?” I still remember how excited we all were. I was very excited.

Mayuchi: I never thought it would be my debut single…

Tomoppe: It’s not every day that I get to be a voice actor and have these people write songs for me. I was gifted an amazing opportunity.

With the release of their debut single at the end of 2019, which is filled with various songs, they will finally start their activities as a group, but lastly, what are your respective goals for Prima Porta in the future?

Tomoppe: We have been working on this for about a year now, and we are finally ready to show it all to you. I hope everyone will look forward to seeing our growth and that we will have many opportunities for everyone to see us. I hope we can do more and more activities as a five member unit, such as live performances and programmes.

Shu: All five of us are unique, so while we grow as a group, each one of us will be active in a lot of different ways, both as a group and as individuals. I would also like to make a return to Australia, my home country, at some point.

Mayuchi: There’s anime events in Australia, too!

Shu: There is, there is! We want to be the ones to be invited to them.

Shukina: I think we will have opportunities to perform at events in the future. and I hope we can show good performances there so that people can get to know us and support us. I hope that we can work hard for the audience who watch us on stage by steadily taking dance lessons and making efforts to make each performance better. Eventually, after many years, we will celebrate our 30th anniversary!

Tomoppe: 30th anniversary! How old will we be…?

Shukina: I wonder how old we will be… I know it’s hard in this world, but I hope we can all work together for a long time.

Agupon: We have only really just started, and while each of us has our own individuality, I don’t think we can yet clearly say this is the colour of the group, or there are still a lot of things we don’t know yet. So even in 2020, I want to deepen our friendships with each other, and let everyone know who we are, and together with everyone, I want to find the group’s colour and say, “This is the kind of group Prima Porta is, that’s why we can be cheerful”, and grow together and become a group that we can enjoy together.

Mayuchi: As this is our debut, it is not a goal but a start, so we want a lot of people to know about the group Prima Porta. We have the internet as a strong weapon, so I hope we can use it to increase the opportunities for many people to get to know us. If more people want to meet them in person or go to their live shows, I think that will increase the number of such opportunities, and I’ll do my best to make that happen. I can’t imagine any big goals yet, but if we start small and work hard, don’t get too proud of the fact that we have made our debut, and each of us works hard with the desire to get better, I think we can become even better in a year’s time.

[ninasankayo]

reuploading/reediting all my posts to add my translations to them :) my blog is no longer active. going forward i will post anything i translate onto here. it will be left up as an archive.

[ninasankayo]

Hotaru Nomoto 2017 Deview Interview.

Originally posted on May 5th, 2026, on WordPress.

“No matter how difficult rehearsals may seem, the moment you step onto the stage, it all turns into pure joy.”

The long-awaited final chapter of the Sailor Moon musical, “Sailor Moon -Amour Eternal- and Sailor Moon -Le Mouvement Final-“, is set to run in September. Following on from the previous production, we spoke to Hotaru Nomoto, who is reprising her role as Sailor Moon/Usagi Tsukino, about her feelings towards Sailor Moon and her unwavering determination to continue performing on the stage.

It has been announced that the final chapter of the Sailor Moon musical will take place in September. What are your feelings right now as you prepare for the “final battle,” which holds such a special meaning for fans?

Hotaru Nomoto: I’m so excited to start rehearsals! Ever since the last stage play ended, I’ve kept being involved with Sailor Moon in one way or another, whether through events or interviews like this one, but a stage play is really something special. Reading the original manga really gets me in the mood. While the stage play does stay true to the story, it’s filled with unique things for the stage, so I’m already thrilled to imagine how my favourite scenes will be brought to life.

That’s what all fans look forward to, isn’t it? As someone who performs on stage, what do you think are the unique charms that make the Sailor Moon play so special?

Hotaru Nomoto: I love everything about it, from the direction to the songs, but as someone who gets to see the cast up close, I think the costumes are absolutely adorable. Of course, I love the Sailor Guardians’ costumes, but I also love their outfits when they’re not warriors. In the final performance, they even wore their everyday outfits, and it really brought out each character’s personality. I got so excited thinking, “They’d totally wear something like this in everyday life!”

The previous stage play marked the first time the five Sailor Warriors had been portrayed as high school students, and it was also the first stage play with a completely new cast. Hotaru Nomoto has been playing Sailor Moon/Usagi Tsukino since the previous stage play. How did you feel when you were originally cast?

Hotaru Nomoto: I went to the auditions and got the part, but I honestly never thought I’d get it. Auditions are usually done one-on-one, aren’t they? But the Sailor Moon audition had about fifty of us taking part at the same time, so I was able to watch the other candidates being judged. There were plenty of girls who made me think, “That girl really looks just like Usagi!” or “She’s such a good actress!” When it was actually my turn, I found myself getting drawn towards the others’ performances. I had to shake it off and tell myself, “No, no, I have to do this in my own style.” It was an audition where I went through a lot of internal struggle.

Given that Hotaru Nomoto was chosen from such a large pool of candidates, are there any similarities between you and Usagi?

Hotaru Nomoto: That’s where it gets a bit tricky… In the last play, Sailor Moon had already powered up into Super Sailor Moon and started from the point where she had accepted her mission as Sailor Moon, that she had to be strong and responsible. In that respect, I’m quite decisive myself. For example, when I’m out with friends, and someone asks, “Where should we go?”, I’m the type of person who takes the lead and says, “Let’s go here!” So I was able to slip into the role without any problem. On the other hand, though, I don’t really have Usagi’s childlike innocence. One moment she’d be laughing her head off, the next she’d suddenly burst into tears, and when she finds something fun, she’d run off. I really struggled to capture that childlike, naturally cheerful behaviour. I watched the anime and read the manga over and over again, practised hard, but even that wasn’t enough, so whenever I spotted a girl who reminded me of Usagi in town or on the train, I’d watch her… I finally managed to grasp something in my own way during the final performance, so I’m hoping to raise my standards even further for the next one.

Given how popular the series and characters are, it must have been a lot of pressure to deliver something truly exceptional, right?

Hotaru Nomoto: That’s right. To be honest, I struggled with the finger positions for the final poses at first. Whenever I bent my middle and ring fingers, my little finger would bend along with them. I managed to correct that, but there were so many things, like the way the hair moves or how the costume flutters, that were easy to express in a drawing but difficult to recreate on the stage. Still, what everyone is expecting is the Sailor Moon they fell in love with in the manga and anime, so I spent a lot of time at home in front of a mirror, experimenting to see how closely I could capture that atmosphere.

On the other hand, given that so many actresses have played this role before, did you feel an urge to create your own version of Sailor Moon?

Hotaru Nomoto: My natural voice is actually quite low. As this is a popular series that has been turned into an anime, I imagine many fans have their own ideas of what Usagi’s voice should sound like. However, I can’t quite match the voice from the anime, and if I force myself to speak in a high-pitched voice, it ends up sounding rather unnatural. The director encouraged me by saying, “It’s fine for there to be different versions of Usagi,” which gave me the confidence to make the role my own by keeping my voice lower while also capturing Usagi’s distinctive way of speaking.

In addition to the Sailor Moon musical, you’ve continued to appear in popular works such as the stage play “Kemono Friends.” You joined a children’s theatre group when you were in the first grade of elementary school, and are now twenty years old. Do you remember the moment when you decided to continue with this line of work?

Hotaru Nomoto: Yes. I’ve always loved singing and dancing, and ever since I joined the theatre group, every day has been a joy. When I was given my first leading role in a play in Junior high school, I decided I wanted to be on the stage for the rest of my life. However, as I grew from being a child actor into an adult, I began to feel not only the fun but also the hardships and difficulties, and for a while, I wondered if this job was right for me.

Moving on from being a child actor to an adult is something that troubles a lot of people who have been working since they were young. How did you manage to overcome that feeling?

Hotaru Nomoto: There was a long period of time where things just weren’t going well for me. Seeing the people around me getting more and more roles really got to me, and I’d get down on myself, thinking, “I’m no good”… But even then, I never stopped going to lessons.

Where did that motivation come from?

Hotaru Nomoto: I thought that, no matter what I was working on at the time, even if no one else recognised my efforts, I had to believe in myself. After all, you can’t suddenly master something you can’t do straight away. They say “consistency is key”, but there’s really no alternative but to practise relentlessly. Standing on the stage at Sailor Moon, I realised once again that this is what gives me the most energy when I’m finally given a role. It made me realise that everything I’ve done up to now hasn’t been in vain.

Given that you’re well aware of the hardships and difficulties involved, what is it about acting that keeps you going?

Hotaru Nomoto: In theatre, the time spent during rehearsals is far longer than the time you actually spend on stage. There are so many tough moments during rehearsals. Yet, the moment I step onto the stage for the actual performance, all the tough feelings transform into pure joy. It really feels as though I’ve been cast under a spell. That feeling is truly addictive; as soon as one production ends, I find myself thinking, “I want to be on stage again!”

[ninasankayo]

i wanna work on more seiyuu related content... hmm...

[ninasankayo]

finally getting a pink white cane 🥹🥹 need one that’s pretty and not the traditional standard canes ^^

[ninasankayo]

my new (pink) white cane ^^

[ninasankayo]

finally getting a pink white cane 🥹🥹 need one that’s pretty and not the traditional standard canes ^^

[ninasankayo]

if anyone ever thinks "hey i should become friends with someone i met on ao3" the answer is hey don't do that actually you might regret it

[ninasankayo]

Mugendai Mewtype Anime Adaptation confirmed & a new phase begins! The Infinite Possibilities and Gratitude embodied in their 3rd Single “Midnight Amusement Park” and New Track “Tuning”

Sorry. This is long. Sorry if you are on the website.

Originally posted on March 4th, 2026, on WordPress.

Mugendai Mewtype (commonly referred to as Yumemita) is a band born from the BanG Dream! franchise, that transcends dreams (virtual) and reality (real). Initially starting with their VTuber activities on YouTube, they began performing live concerts, starting with their 1st Live (Mugendai Mewtype 1st LIVE “Metamorphose”) held in August 2024, gaining attention as a band with a new style.

At the largest-scale solo live performance to date, the 4th LIVE “Unlock the Future”, held on September 7th at the TACHIKAWA STAGE GARDEN in Tokyo, the members behind the virtual characters unveiled their faces. Furthermore, they announced several upcoming projects, including the announcement of the Anime ‘BanG Dream! Yume ∞ Mita’, set to air in 2026. With the new projects on the way, what do the members think? We take a closer look at Yumemita’s infinite dreams through the thoughts they put into their just-released 3rd single ‘真夜中遊園地’ (Mayonaka Yuenchi, Midnight Amusement Park) and their new song ‘Tuning,’ which was performed at their 4th LIVE!

Vanguard love explodes!? Yumemita’s first anime tie-in song.

You’ve all been finally allowed to show your faces in the media. You’ve always had your faces uncovered during live concerts, but have your mindset or feelings changed at all?

Ritsu Minetsuki: Having my face appear in articles and photos for the first time makes me feel both excited and a little nervous. But I’m gradually getting used to having my photo taken, and everyone else is getting better at making different expressions, so even though I’m nervous, I’m mostly looking forward to it.

Miyako Fuji: Yumemita has always engaged in activities that are set in both the virtual and real worlds, so for me, my mindset hasn’t changed much. While I do feel the scope of our activities is expanding, with photos being released and Blu-rays becoming available, it doesn’t mean that anything has fundamentally changed. I’ve always been Miyako Fuji, and I always will be.

And for the rest of you, which category do you fall into? Those whose mindsets have changed, or those whose mindsets remain the same?

Arale Nakamachi: Yeah! I suppose I’m more of a change-oriented person. But like Miyako said, I feel nervous about all the possibilities opening up. It’s a bit like, “Right, you can watch us now! Boom!” So I feel that the nervousness comes with the change of being seen now.

Yuno Sengoku: I don’t think much will change now that people know Yumemita, but I’ve never really liked having my photo taken…

Ritsu/Arale: I understand!

Yuno Sengoku: The idea that a single moment captured could spread across the world still makes me nervous, but I feel very fortunate to receive so many interviews and photo opportunities, so I’d like to get used to it. Also, getting my makeup done for a shoot helps me realise my good points, so I feel like I can approach it positively.

Nonoka Miyanaga: My mindset hasn’t changed much, but I do think it would be fun to learn how to use my facial expressions better. I believe smiles and other expressions can convey energy and power. After all, I’m quite the lively character!

Today’s photoshoot went really well. Now then, please tell us about your third single, ‘真夜中遊園地’ (Mayonaka Yuenchi, Midnight Amusement Park), which is the weekly ending theme song for the TV anime ‘Cardfight!! Vanguard Divinez Deluxe Final Round’. Given it was your first anime tie-in, you must have been absolutely delighted.

Nonoka Miyanaga: Of course! But I think it would be best for Yuno to speak about this…

Come to think of it, Yuno is quite the fan of Vanguard, going as far as to open packs and play the game on stream.

Yuno Sengoku: Yes. I absolutely adore Vanguard and have always enjoyed it as a player myself. So seeing it played in the ending of an anime I’ve been watching all this time makes me incredibly happy as a fan, too. It feels like such a dream that hasn’t officially sunk in yet. Plus, ‘Midnight Amusement Park’ is a song we’ve put a lot into during countless band rehearsals, so right now I’m awaiting the broadcast with enormous excitement. (Note: The interview was conducted before the broadcast happened.)

Continuing from that, I’d like to ask: are there any aspects of this song where you can feel it’s from Vanguard?

Yuno Sengoku: The anime currently airing is part of the ‘D Series’. The very first location where the characters gathered in the series was an abandoned amusement park. Gathering there to play Vanguard together is the origin of this series. So when I learnt that the title was ‘Midnight Amusement Park’, I felt both surprised and emotional and thought, “Ah, that’s the amusement park, so that’s where it’s set.”

Arale Nakamachi: Everyone except Yuno is looking rather surprised (laughs).

Yuno Sengoku: Additionally, while this song has the classic dreamy/Yumemita 1 feel to it, the lyrics also contain quite a few words that will make anime fans go, “Is this about that?” In particular, “Jailbreak” remains the same. I haven’t watched the anime yet, but I can already guess it’s going to be packed with elements from that character’s episode.

As expected, Yuno’s passion for Vanguard is unstoppable.

Ritsu Minetsuki: She’s reliable!

Yuno Sengoku: Ask me anything about Vanguard.

For everyone else, what were some of the points you felt about the anime’s ending?

Miyako Fuji: Generally, anime ending songs tend to be a bit more sombre than the openings, with a sense of ‘conclusion’. ‘Midnight Amusement Park’ is a song that absolutely gets the crowd excited at Yumemita live shows, but the chorus melody also carries a sense of sadness. I think the fact that it’s set at an amusement park at night instead of during the day makes it feel like an ending, too.

Nonoka Miyanaga: I understand! It starts off catchy and rhythmic, but the chorus takes on an emotional feel. It builds up coolly and powerfully, yet carries a sense of melancholy too.

Ritsu Minetsuki: Also, this is off topic, but during her first livestream, Arale mentioned she wanted to sing an anime theme song, and I’m absolutely delighted that her dream came true.

Arale Nakamachi: We live in such an internet-driven society now, but I’ve always wanted to be on TV broadcasting. I’m really happy to have been given such a huge opportunity, and I’m excited for it to air (laughs). And speaking of a behind-the-scenes story, this song (Midnight Amusement Park) was actually a contender to be our debut single 2. I’m really happy to be able to deliver such a memorable melody through this big opportunity.

So it’s a song that’s been around for that long? How much has it been updated since then?

Arale Nakamachi: The lyrics have been rewritten to fit the new worldview and current state of Yumemita, but the melody remains largely unchanged. Regarding the lyrics, the chorus line “Jailbreak to the Midnight Amusement Park” conveys the sense of, “Let’s escape to the amusement park!” But in the bridge part, it becomes “Welcome to the Midnight Amusement Park”, making me feel that perhaps this is the place we were meant to return to after all. We want to break free and become new versions of ourselves, yet this warm place is always there for us to return to. That’s why we can go into the unknown. I hope you can feel that warmth too.

Nonoka Miyanaga: That’s such a lovely story. It’s making me cry…

Everyone: She’s crying! (laughs)

Nonoka, did you find parts of this song that you could really connect with emotionally?

Ritsu Minetsuki: No, Nonoka is simply a crybaby (laughs).

Arale Nakamachi: Nonoka is very sensitive.

Nonoka Miyanaga: The synergy with the music really got to me.

This song was originally meant to be Yumemita’s debut song. Regarding its dreamlike quality, where do you feel like it comes through?

Yuno Sengoku: Isn’t it really more like, “What’s wrong with being in the shade!?”

Nonoka Miyanaga: The lyrics of “Mugen My World (夢現妄想世界, My Infinite World)“, which became our actual debut song, have this gloomy vibe to it, like feeling miserable because everyone around you is sparkling and radiant. After Mugen My World, there weren’t many songs quite like that.

Arale Nakamachi: Indeed! In that sense, it might be a song that marks a return to the basics.

In other words, does that mean the sentiment of “What’s wrong with being in the shade!” lies at the origins of Yumemita?

Arale Nakamachi: Well, yes. I don’t think any of us are particularly extroverted types. But I suppose there must be a way for us introverts to fight our own battles, or rather, to survive? “Mugen My World” felt like a world of delusion, or a worldview of retreating into a dream-like space. But with “Midnight Amusement Park”, I felt a strength emerging, a sense of having grown more resilient through our activities, embracing it fully, and stepping into the real world rather than staying in a dream. The music style reflects that, and we’ve been improving our skills too. I think the timing was perfect for “Midnight Amusement Park”.

I heard that band rehearsals for “Midnight Amusement Park” have already started. Are there any particular things regarding the performance or sound you’d like listeners to pay attention to?

Miyako Fuji: In terms of performance, I play the keyboard standing up for “Mugen My World”, but for “Midnight Amusement Park”, I sit down to play. The difficulty level has also increased; previous songs mostly have the left hand playing one note, but this song features melodies that require more movement. Though the song shares similarities with “Mugen My World”, I can tell that it’s two years’ worth of progress.

Nonoka Miyanaga: I’m just having so much fun! “Midnight Amusement Park” is just so much fun to play because the arrangement and rhythm keep changing all the time. Playing it makes me feel like, “Wow, I’m actually pretty good on guitar!” It’s just amazing.

Arale Nakamachi: It’s a super catchy tune, isn’t it? And unusually for a Yumemita song, it has four choruses. What’s more, that chorus has this whirlwind, merry-go-round-like feel to it, so I reckon it’d be an absolute blast to play live. Looking forward to it, aren’t we?

Everyone: Looking forward to it!

It looks like you’ll be adding another powerful song to your live performances. Also, something I’ve personally been wondering about, there’s a cry-like sound in the second verse, right?

Miyako Fuji: Oh, that was me. I often make that sort of noise during livestreams, so the staff asked me to “give it a try” during recording as background noise. Nonoka also added background noise in her part afterwards, too.

Nonoka Miyanaga: Right. I added a “Clang!” sound effect in my part.

Ritsu Minetsuki: On my first listen, I thought I’d misheard. There was this odd noise, and I went, “What’s that?” only to realise it was Miyako crying (laughs).

Yuno Sengoku: It’s quite a common dream, isn’t it? When I listened to the final recording, there were voices I didn’t recognise at all, and I was like, “What on earth was that?”

Nonoka Miyanaga: It’s often a shock when you realise the sound you recorded on a whim, saying “Right then, let’s give it a go,” actually made it in.

A song written and composed by Arale Nakamachi that captures her own growth and change.

Next, let’s talk about the coupling tracks. First, “Gradient” was first performed at the Tokyo show of the 3rd LIVE “Fleeting Moment”. Not only did Arale Nakamachi write the lyrics, but she also took on the challenge of composing it along with Horie Shota. She also previously co-wrote the lyrics for “Kohaku” with Horie Shota. What was the process behind creating this song?

Arale Nakamachi: The most significant part of Yumemita is that it grows alongside everyone, but I felt that repeating the same ideas over and over again was a bad idea, so I introduced a challenging spirit, or rather, a challenging load… Oh dear, that ended up being some kind of pump-up analogy.

Yuno Sengoku: Since when did you become such a muscle-bound character? We’ll hear plenty about weight training in the next song.

Arale Nakamachi: Anyway, having written the lyrics for Kohaku, I decided to try my hand at composing this time! When I was asked to compose the music, I felt anxious and nervous, but my desire to give it a go was stronger, so I took on the challenge.

How did you go with the production?

Arale Nakamachi: As I can play the guitar, I first roughly decided on the chord progression for the type of atmosphere I wanted for the song to have, then wrote the melody. Using that as the base, I refined it while talking with Horie Shota, and then added the lyrics.

At the time of composition, did you have a clear image of what you wanted to express through this song?

Arale Nakamachi: Yes. Initially, I set the BPM to 120 to make it feel close to listeners’ daily lives, aiming for a tempo close to a walking pace. The core theme was “to make people feel warm inside”. That stems from my own experience with Yumemita, where I felt my own emotions rise through various experiences, gaining courage and warmth myself. Now, I wanted to pass on that feeling to everyone. Putting it into lyrics was incredibly challenging.

What do the other members think of the song?

Nonoka Miyanaga: I absolutely adore the lyrics that Arale writes. She’s the type who really analyses her own feelings and emotions, so when I read her lyrics, it feels like I’m looking into her heart. “Gradient” felt like seeing the real Arale’s feelings, and it left me feeling incredibly warm inside. Arale has her negative feelings, too, but she has such a strong drive to use them as fuel to push forward. I think this song captures that perfectly.

Miyako Fuji: I thought it was very Arale-like, too. I felt the same way about “Kohaku”; Arale’s lyrics always have a specific audience she wants to reach. I don’t really have that kind of perspective myself, so that worldview feels fresh to me. When I first saw the lyrics for “Gradient”, I actually ended up crying a little.

Arale Nakamachi: Thank you so much!

Miyako Fuji: Whilst learning about how Arale spends her days and interacts with others, I sensed she was someone who observes others very keenly. Through her lyrics, I became even more convinced of that. I draw manga myself, and I think self-disclosure is the hardest part of any creative process. So, to achieve this level of self-disclosure in her first-ever composition is truly impressive. I suppose she really is a talented girl at expressing herself, including through songs.

Arale Nakamachi: Somehow, I’m feeling incredibly embarrassed now.

Ritsu Minetsuki: I’m watching her and thinking how red her face was turning (laughs). I, too, feel genuinely warmed by it, and I think it’s such a lovely song that I find myself doubting that it’s her first time composing. The chorus is sung by all of us, and we recorded it with the feeling of “We’re supporting you, Arale…!” I believe it’s a song where Arale and we, Yumemita, become one.

Yuno Sengoku: While “Kohaku” was refreshing and had a sense of speed, “Gradient” was more subdued. Having gone through “Kohaku”, I feel like Arale really dug deeper into the feelings she wanted to convey. I really felt that the composition conveyed Arale’s feelings more effectively.

Nonoka Miyanaga: Come to think of it, I interpret “Kohaku” as having quite an introspective feel to it, with lyrics like “The outside world might see me this way, but this is how I am”. Where “Gradient” strikes me as having lyrics that speak outwards, more directed at the outside world.

Miyako Fuji: It feels like we’re making more of an effort to meet closer than we did with “Kohaku”, doesn’t it?

Nonoka Miyanaga: Yes, it feels like a dialogue with the outside world. I think that is the unique warmth of “Gradient”.

I can certainly feel that change in myself. Previously, when I spoke with Arale about “Kohaku”, she told me that “I’m the type who enjoys solitude”. Yet, “Gradient” gives off the impression of being a song that opens up to someone other than herself. How does Arale actually feel about that?

Arale Nakamachi: Looking back on my life so far, I realise that when I say “bye-bye”, I’ve maintained the feeling of meaning that I’d never see that person again. So, fundamentally, I spend a lot of time questioning myself internally, but within Yumemita, the members are always by my side, and I’ve started to properly look into my relationships with others and truly see them. That sense of distance, the warmth of others’ presence, and having opportunities to connect with our supportive Mu-Typers (The fan name for Yumemita fans) makes me feel emotional… I wanted to create a song that took those aspects into consideration, but I didn’t really think that it would be a song that resonates with so many people.

Nonoka Miyanaga: Arale herself has grown over the past year or so, so I’m sure her way of thinking has changed, too. But I don’t think she realised just how much she had truly changed.

Do you all feel like Arale has changed or grown while you’ve been by her side?

Ritsu Minetsuki: Yes. Well, it’s something all the members feel, but we’ve all become incredibly strong… including our muscles.

Arale Nakamachi: No, no, we haven’t talked about that song yet.

Yuno Sengoku: Could it be that the sheer number of live shows we’ve done had an impact? After all, it’s only been a year since our first live performance, and during that time we’ve been able to do so many shows. Each time, I think all the members truly realised that without all the people coming to see us, we simply couldn’t perform.

Incidentally, “Gradient” is a word that means “inclination or slope” in Japanese. What sentiment did you wish to convey with this title?

Arale Nakamachi: Fundamentally, I want people to listen to this song and feel affirmed in themselves. Just because someone affirms you doesn’t mean you can affirm yourself, does it? No matter how much you get affirmed, if you don’t affirm yourself, it probably won’t mean much. Because that’s how it was for me. Comparing myself to others was what made me feel so negative, but I believe everyone should feel entitled to feel confident in themselves. Just as an illustration wouldn’t hold together if one layer were missing from it, I feel this world exists because every single person’s worlds and feelings overlap. That’s why this song title just felt right, and why I named it that.

Train yourself! The second Miyako-themed song combines passion and fun.

Next up, the long-awaited workout song, “LET’S Achi-achi Training!” (LET’Sあちあちトレーニング！)

Miyako Fuji: After such a lovely story (laughs).

Arale Nakamachi: Afterall, let’s tackle the physical!

This song is the second character-themed song for Miyako. While the previous song, Genkai Genjitsu Survive Tenshi (Limit Reality Survive Angel, 限界現実サバイブ天使), has grown into a song that gets the crowd exploding with energy at live shows, this song suddenly kicks off with boot camp… what on earth is this about?

Miyako Fuji: I don’t really get that either (laughs). Just like with Genkai Genjitsu Survive Tenshi, this song was created after the writers spoke directly with me. Content-wise, it’s a follow-up of Genkai Genjitsu, but it’s more of a song about battling with oneself. Given that I’m a manga artist, Genkai Genjitsu incorporated many words and expressions I felt would resonate with people who do creative work online. My sense is that it’s a song aimed at creators who feel like outsiders. This time, however, “Let’s Achi-achi Training!” is far too specific to manga artists, as the lyrics immediately say “Health Manga Artist Striving Onwards!”, so I suspect it probably won’t resonate with many people.

So you weren’t seeking sympathy from the start.

Miyako Fuji: Yes. I think it’s a song that truly reflects who I am, as I’ve completely let go now.

Nonoka Miyanaga: Everyone feels that way. Honestly, the only person that comes to mind when you said “Health Manga Artist Striving Onwards!” is Miyako.

Even back in the days of “Genkai Genjitsu Survive Tenshi”, there was this whole worldview centred on sheer determination, wasn’t there?

Miyako Fuji: “Genkai Genjitsu” is a song about training your body and mind and working hard to improve yourself, which was created after thinking about how to persevere in a harsh reality. Those who create things often find that even when they believe in their own work, society fails to recognise its value. Yet, if one wishes to keep expressing themselves, there’s no other way but to keep persisting in creating their absolute best work. “Let’s Achi-achi Training!” is much the same; what it’s singing about is essentially unchanged.

Arale Nakamachi: The difference between Genkai Genjitsu and Let’s Achi-achi Training! is that the former lets you escape reality, and the latter makes you feel this super intense passion, like, “Nah, I’m going to really take it in, reality and all, and turn it into my own power!” It’s all about confronting reality, or rather, absorbing reality itself! That’s the vibe of this song.

Miyako Fuji: It’s true. I’m not actually fighting reality. I think “reality = the world = others”, but rather than comparing myself to others, I’m striving to become my best self! That’s the essence of it.

Nonoka Miyanaga: Brilliant! A proper samurai.

Unlike Genkai Genjitsu, Miyako actually cowrote the lyrics for Let’s Achi-achi Training!

Miyako Fuji: I was particularly fixated on the interpretation of effort, so I rather interfered a lot (laughs). Hearing what I’ve said so far, you might think, “Effort is wonderful!” or “Effort is justice itself!” But that’s not quite right. For me, effort is solely for my own confidence. It’s a means to self-realisation, and the notion that “effort is wonderful” comes from others’ evaluations, so that’s entirely irrelevant to me.

Nonoka Miyanaga: Is it working hard for the sake of trusting in yourself?

Miyako Fuji: Yes, the idea of striving to gain recognition from others isn’t my way of thinking; ultimately, it’s a battle with myself. It’s about reaffirming my own sake, without relying on holding hands with others.

Yuno Sengoku: But in this song, after all that self-improvement, I’m suddenly invited to join a workout. “Well, then, everyone, let’s get started,” and off we go.

Nonoka Miyanaga: Listening to this song makes me think that battling with oneself is rather cool, and it makes me develop that kind of value within myself. It’s very much a song for myself, but in terms of its influence, there’s this aspect where others get swept up in it without asking.

Ritsu Minetsuki: I’ve been influenced by this song too. I’ve started doing weight training, which I used to absolutely hate, tried going to a personal gym, and even downloaded a health management app.

The composition’s rapid shifts are quite interesting, aren’t they?

Miyako Fuji: I’m not naturally a very positive person, but that’s precisely why I love songs that lift up my spirits when I listen to them. So, I wanted to convey that I’d appreciate it if you could create music that makes me feel motivated to think, “Right, let’s get on with it!” while also having a touch of fun.

So that’s why it became a boot camp suddenly halfway through the song.

Miyako Fuji: Incidentally, the boot camp will commence at the live show too (laughs). I’ll be the instructor, and I’ll have all the members participate. By getting everyone involved, including the audience, I’ll convey the philosophy that “one must train!” I’ll be lifting a barbell marked 100kg, so everyone, join in!

Nonoka Miyanaga: It’s a Yumemita-kg, you know.

A new song titled “Tuning”, created by the members of Yumemita.

Yuno Sengoku: Actually, this song has been in production even before the 1st LIVE. It wasn’t commissioned or anything; it all started when I was chatting with Arale about music production, and I just sent her a melody on Discord saying, “Actually, I made a song too.” Little did I know that it would become the song realised for the 4th LIVE. I thought, “Oh dear, this has turned into quite something”.

What was your initial concept when composing the piece?

Yuno Sengoku: Within me, the theme of “sounds that change the world” was fundamental. Back then, it was before our first live show, so I’d only ever interacted with fans online. But as our various activities were beginning, and Yumemita’s shape was changing, I was still holding onto the Yumemita that was at that point. Driven by a desire to not forget how I felt, I created a song as a tuning exercise to return to our roots. As our world changes again dramatically from here on, we’ll play all sorts of music, but I wanted to write a song for Yumemita that no one else could interfere with, one that would let us recall those feelings whenever we heard it. Initially, Arale was going to write all the lyrics, but I was super stubborn because it was such a strong song.

Arale Nakamachi: The process was that the melody was completed first, and then Horie Shota worked on the arrangement, bringing the overall atmosphere together. It was during this stage that we (Yuno/Arale) decided to write the lyrics together. At the start, we wrote the lyrics independently, following our own inspiration without interfering with each other. So, I hadn’t specifically asked about the feelings Yuno mentioned wanting to put into the song. However, I had vaguely heard about the idea of making it a Yumemita-like song, so I thought, “Right, I’ll write the lyrics about what I feel like when I think of Yumemita, too.” Then, during the meeting, whilst learning lyric techniques from Horie Shota, we combined what we had each written.

What did you feel towards Yumemita at the time?

Arale Nakamachi: My strongest feelings towards Yumemita were, without a doubt, immense gratitude. The lyrics for Tuning start with “Hey, how do I say thank you?” I wondered where this sense of gratitude comes from, and how I couldn’t quite put my feelings of thanks for all sorts of things into words. So, I just wrote it all down honestly, without trying to make much sense of it. But every time I play this song, I hope it becomes a way to reconfirm each other’s feelings and gratitude. That’s why when I heard the title “Tuning”, I thought it was perfect.

Yuno Sengoku: Initially, I thought it was important not to forget our roots emotionally, hence the title ‘Tuning’. But upon further reflection, I also feel it would be wonderful if all members of Yumemita could embrace that spirit of tuning at this very moment, when we’re growing the most. I believe we’ll continue to change, both now and in the future, but no matter the stage, this remains ‘a song for Yumemita’. So each time we play it, I hope we can rediscover something new and cherish it.

Arale Nakamachi: I don’t think there’s any particular correctness that Yumemita has when compared to the world. When tuning, I think the number of hertz is fixed in place, but I hope we can tune by layering the feelings we ourselves find good at each moment.

The song features a signature uplifting sound for Yumemita, blending the band’s sounds with digital beats, and it’s also great that it develops into a holy song with harmony at the centre.

Yuno Sengoku: This song features Yumemita’s first five-part harmony, and the part I wrote that got used exactly how it was, with no alterations to the melody. While Yumemita’s songs are usually crafted to get everyone hyped up, this section was sung purely for the sake of Yumemita, completely inward-facing. I’m looking forward to seeing how fans have new ways to enjoy Yumemita at the live shows.

I understand that you arranged the harmony vocals for the cover of “Georgette Me, Georgette You” (Ave Mujica) that you performed at prior live shows.

Yuno Sengoku: Yes. I believe I understand the members’ vocal qualities and where their singing shines the most, so if it’s an arrangement that makes use of the members’ voices, I absolutely think I’d be the best in the world at it (laughs).

Arale Nakamachi: But the tuning is rather high, right? (laughs) I bet Yuno must be looking at my future self, thinking, “You’ll be able to handle this!” and building on that within the mind.

Yuno Sengoku: For the D-melody line, “See, it’s like a dream, isn’t it?”, I wrote it imagining the five of us talking face-to-face. I pictured how Arale would look when speaking and what her voice tone would be like before setting the key. At times like that, I always pictured Arale in the centre… Somehow, I suddenly feel embarrassed and can’t look at Arale.

That’s rather emotional. You filmed the animated music video for “Tuning” yourselves using motion capture. How did that go?

Ritsu Minetsuki: Each character had their own solo scene, but it perfectly mirrored everyone else’s usual movements, so I was genuinely moved to feel that the virtual and real words completely linked up here.

Yuno Sengoku: You mean the tuning of the virtual and real worlds? (laughs). I absolutely adore the bit in the final chorus where everyone’s on stage and Nonoka’s just bouncing up and down the whole time, completely out of sync with the rhythm.

Ritsu Minetsuki: It’s just like Nonoka at a real-life show, isn’t it? (laughs)

Nonoka Miyanaga: During the D-melody section, I was initially playing with my legs spread apart when the director said, “Try making it a bit cuter.” I thought, “I want to do that!” and gave it a go in the next shot. The result ended up being used. Officially, it was supposed to be a gag scene. I was taking it seriously, though.

Arale Nakamachi: The way we moved was directly captured on screen, so it was a fascinating opportunity to learn how to move effectively for live performances. It’s rare to see yourself so objectively, and even rarer to focus solely on movement, so it was a valuable learning experience for me. This is something only a band bridging the real and virtual worlds could achieve, so I’m truly massively grateful.

In a way, this means your 3D models are now complete, which further expands the possibilities for future activities.

Arale Nakamachi: Oh??

Ritsu Minetsuki: Does that mean we can do virtual live shows too?

Nonoka Miyanaga: The only way to do that is to earn money. Let’s earn money!

TV anime adaptation, 1st album, journey to conquer all 47 prefectures, towards infinite dreams.

The 4th LIVE featured numerous announcements regarding Yumemita’s future. Among these, the TV anime adaptation stands as a particularly significant topic. How do you all feel about this?

Arale Nakamachi: Above all else, it was immense gratitude! When I first heard the news, I felt a jumble of emotions: anxiety, fear, excitement and joy. But what stood out most to me was the realisation that if people were placing such high hopes in me, I absolutely had to give it my all. I distinctly remember feeling such a surge of determination.

Nonoka Miyanaga: I was so keen to become a voice actor that I auditioned for Yumemita, and I remember that thrilling feeling of, “Wait, I get to do Anime?” It was truly something I’d dreamt about so much that it felt like a dream come true; I couldn’t quite believe it was real. But seeing the progress on things like the Tuning MV and the Anime production, my heart was racing… I’m just truly over the moon!

Arale Nakamachi: We all dreamed of becoming voice actors, didn’t we?

Ritsu Minetsuki: Like everyone else, I had the goal of becoming a voice actor and getting involved in anime. But I never imagined that Yumemita would be adapted into an anime as the main project. When I heard the news, I pinched myself once, thinking, “Is this a dream?”

Nonoka Miyanaga: That’s absolutely a lie. It’s just too funny, though (laugh).

Ritsu Minetsuki: No, no, when I was told in the rehearsal studio that Yumemita would become an anime, I pinched myself. I tried my best to keep a straight face, but it really hurt.

Yuno Sengoku: I’m here because I wanted to be a voice actor too, so I felt happy, but when I heard about the anime adaptation, I could see so many possibilities beyond that. Thoughts like, “If it gets animated, maybe this could happen too?”, it was the first time I felt like I could see beyond the dream itself. Before that, I’d always focused on the immediate tasks at hand. But after hearing about the anime adaptation, I started looking further ahead in my work. Granted, the anime isn’t until 2026 3, so it’s still a way off, but being able to keep thinking about what lies beyond is such a happy thing. And being able to expand my dreams so much is truly wonderful. Because the dreams of Yumemita are infinite.

Miyako Fuji: However, the anime adaptation of Yumemita was only made possible thanks to the groundwork laid by our seniors from Bandori! and the support of our fans. To be honest, it wasn’t something we achieved through our own merits. As someone who also works as a manga artist, I know firsthand how incredibly difficult it is to grasp something through one’s own efforts. This current environment is truly not something to be taken for granted. I hope to work hard so that everyone feels it was the right decision to entrust us with this project.

There were various other plans announced, but finally, please tell us what you’re looking forward to in your future activities and what you hope fans will anticipate.

Yuno Sengoku: I’m excited about the release of our first album, “Progress Sign”. It’s deeply moving that songs reflecting the richer content of our activities since the first live performance have been tightly compiled into one album, and that we’ve accumulated enough tracks to release an album. Each song comes with its own memories, so I think it will be an album that fans can listen to while looking back together with me. I’m really looking forward to its release.

Nonoka Miyanaga: I’m also looking forward to the release of the album. The title “Progress Sign” carries the meaning of “predicting the future from past trajectories”. Rather than dwelling on the past, it’s about projecting a future that expands even further from there, I think that fits Yumemita perfectly and makes for a wonderful name. Yumemita’s environment lets us try absolutely anything; if I say “I want to do this!”, they’ll say “Go for it!” and really encourage growth. A year ago, I never imagined things would turn out like this. So, I want to keep challenging myself in all sorts of ways and keep growing, aiming to reach a point where, another year from now, I’ll think, “I never could have imagined I could grow this much.”

Ritsu Minetsuki: I’m really looking forward to the Blu-ray “Yumemita’s Journey”. I’m sure the footage from the 1st LIVE will show us in our fresh-faced early days, and, apparently, the clip where I messed up getting onto the platform during “Alien Alien” is included too (laughs). Also, my headbanging during “Empty Puppet” 4 seems a bit unusual, and I got advice from the people around me saying, “You’re putting your all into this, so let’s embrace that as your unique style.” That distinctive headbanging is included, too, so it’s definitely packed with highlights. I’m absolutely thrilled that these past live performances won’t just remain in my memory, but will be something tangible I can hold in my hands.

Miyako Fuji: Our journey to conquer all 47 prefectures involves visiting various locations in preparation for our anime adaptation. As our live performances increase, we believe this will create more opportunities for many people to discover us. Up until now, we’ve focused on delivering lively, enjoyable live shows. But to make that even stronger, we need to further hone our musical skills. We want our instrumental abilities to be recognised as worthy of a band, and as we enter our second year, we hope you’ll keep your expectations high for us. This is a pledge we make to ourselves! (laughs).

Arale Nakamachi: What I’m particularly looking forward to is absolutely everything! The TV anime adaptation being greenlit, the 47 prefectures tour, our 1st album release, the Blu-ray launch, and Yumemita manifesting from virtual to real (our complete form)… Just this sheer volume alone makes me grateful for everyone’s anticipation. I’m sure we’ll be running flat out from here on, hurtling through this dizzying present, but even so, I want us to keep looking ahead and upwards. I’m sure we’ll reveal many different faces and sides of Yumemita, but since we’ve built the core foundation through our activities so far, I’m confident we’ll be fine. I want us to be a band that always keeps looking ahead. No, not just the band, I want you to expect everything from us! I’m sure we’ll redefine what the word ‘band’ even means!

[ninasankayo]

being blind and also doing translations is a nightmare… the website i use doesn’t allow me to use dark mode for editing stuff (yet allows the viewer page to be dark mode) and i have to take breaks because of eye strain… i wish it was easier to do my hobby…

[ninasankayo]

currently working on a yumemita interview translation ^^ should be up in the next few days :)

[ninasankayo]

Tomori Kusunoki Interview on her second album 'turquoise blue'.

Originally posted November 6th, 2025, on WordPress.

Tomori Kusunoki, who is active as a Seiyuu, has released her second album, ‘LANDERBLUE’. The album features existing tracks such as ‘シンゲツ’ (Shingetsu, New Moon), the ending theme for “The Misfit of Demon King Academy II” and “back to back”. The album’s concept is inspired heavily on Turquoise, her birthstone. The stone’s symbolism represents success, freedom and prosperity. We spoke to her about this album, which she wrote with the hope that “it will be a reassuring ally like a good luck charm.”

The sense of “acceptance” and “embracing” has grown significantly.

Your second full-length album is complete. Nine of the eleven tracks were written and composed by you.

Tomori: There’s a real sense of achievement, isn’t there? Once the album was confirmed, I realised I’d have to write quite a lot of new songs. I was worried without a guiding principle, I might get stuck, so I decided on a concept idea first. My team doesn’t have anyone as the producer. Since I’m the one overseeing everything we do, I felt a shared theme was vital to make sure we all moved in the same direction.

The album’s concept is Turquoise, the birthstone for those born in December. The track that most reflects this is the eleventh song, ‘turquoise blue’.

Tomori: The first song I started writing after confirming the concept idea was ‘turquoise blue’. My previous songs were often powerful pieces about “overcoming what’s in front of you”, “charging headfirst”, or “resisting”, and I think that idea was strongly associated with my music among listeners. But now, five years into my debut as a solo artist, and turning twenty-five, it brought a growing sense of acceptance and embracing the way things are. I’ve become able to step back calmly and think, “This is something I can’t change, so I’ll accept it,” and then, with those thoughts, consider, “Right, what should I do next?” That shift in perspective is what I poured into ‘turquoise blue’. It’s the first time I’ve written a title song with a calmer feel.

“I’d be delighted if you could listen to the songs in the order they appear on the album, even just once.”

The first track, “twelve,” serves as a prologue to the album.

Tomori: Once all the songs were done and the overall picture became clear, I wanted to put a song that would draw listeners smoothly into this album. The album contains eleven songs, but after the final song ‘turquoise blue’, if listeners return to ‘twelve’, it makes it the twelfth song on the album, I suppose. Also, every single line of the lyrics is twelve characters long.

“The black wind makes a sound / Passes by me” (1)

Tomori: That’s right! We’ve really paid attention to the details on this album. I’d be really happy if people would just listen to it once in the order the tracks are arranged.

The fifth song, “優等生” (Yuutousei, Honour Student), is a song with a dark fantasy-esque sound.

Tomori: Up until now, I’d been conscious of creating songs that would resonate with many people. But around the time of my 5th EP, ‘吐露’ (Toro, Outburst), I started thinking it might be good to create songs with a specific theme aimed at particular people. I really wanted to include songs like that on this album. As for the theme of ‘Yuutousei’… well, I was the type who tried hard to be the top student until about middle school. My true self wasn’t like that at all, but I did try reasonably hard with my studies. This meant the expectations around me grew, and I developed this intense feeling that I “couldn’t betray the model student version of myself”. It was incredibly exhausting. I felt this emptiness; no matter how hard I tried, I wasn’t praised or loved in return. Even when I confided in people about how I felt, they just told me I was showing off. This song was made from that feeling. I wanted to acknowledge that version of myself back then, wanting to give her a little pat on the head.

Self-love is important, isn’t it? Do you still feel pressure from those around you sometimes?

Tomori: For a while after starting work, I felt I had to live up to others’ expectations, and I think there was a part of me that pushed myself too hard trying to show people a version of myself that was beyond my reach. There were times when that was exhausting, but over the last few years, the feeling that I should take better care of myself has grown stronger. I want to treat what I see and feel with more care and attention, and I’m trying hard to believe that by doing so, I might finally learn to love myself as a working adult.

Fortunately, things I wish to sing about and convey regularly come to mind.

The pop-inspired ‘Nemesia’ has words as its main theme.

Tomori: I find words to be frightening. In my line of work, I often have to express my feelings and thoughts through words, and while mostly I’m praised for them, I find myself regretting what I’ve said afterwards. I also think that swallowing or discarding the words I’m trying to weave is the same as self-denial. I realise that people struggle to put things into words, and for them I wanted to write ‘Nemesia’ in hopes of conveying to people that “The words you weave have value,” and “You can be confident in your words.”

The phrase ‘I want to hear your voice’ in それでも (soredemo, nevertheless) also stayed with me.

Tomori: The reason I wrote this song was that an artist I deeply respected and who influenced me greatly passed away. I’d been writing a letter to them, thinking I’d get to give it to them someday. I just couldn’t get it right, and I was planning on rewriting it properly one day… but then they suddenly left us. I deleted the unfinished letter, but I felt compelled to turn the emotions I felt into a song. It’s a rather self-centred song, and I hadn’t intended to include it on the album, but I thought it might make some people think, “I want to tell my loved ones how I feel. Maybe it’s not too late,” so I decided to include it.

After all, your words and feelings you put into your songs are the core of who you are.

Tomori: Since I tend to write the lyrics first before composing the music, it’s definitely an aspect I value highly. Luckily, ideas for what I want to sing about and convey in my lyrics keep coming to me regularly, so as long as that continues, I want to keep writing my own lyrics and turning them into songs.

You’ve also said that this album carries the wish of being a good luck charm. What kind of good luck charms do you own?

Tomori: When I need cheering up or I feel down, the songs I listen to help, but I also have a strong attachment to objects. I have a handkerchief given to me by an old manager. I always take it with me on days when it’s a big thing, like a live performance or an audition. Having it with me makes me feel reassured and gives me a real boost of energy.

Extra: What video content does Tomori like at the moment?

Banana Man’s Special Gourmet!! (TBS Network)

Zozozo (YouTube)

Tomori: The one TV show I never miss is Banana Man’s Sekkaku Gourmet! While tasty food is essential for keeping myself in a good mood, watching a show on good makes me think, “Ah, everyone else loves eating too”, and I get to discover loads of delicious-looking things. I sometimes record the show and watch it all in one go whenever I have time.

Tomori: On YouTube, I like to watch a show called ‘Zozozo’. They go to haunted spots, especially ruins, to see if they can actually see anything. It’s not about making a big show of being scared; it’s more like, ‘Look, it’s right there on camera. ‘ That’s what I like about it.

Translator notes: 1: I have no clue what this means.

Original article: https://thetv.jp/news/detail/1309486/

[ninasankayo]

GAP The Series – Interview with Hina Youmiya and Sora Amamiya.

Originally posted October 24th 2024, on WordPress.

Sora Amamiya and Hina Youmiya: Thai GL drama “Gap the Series” -A heart-pounding love story between a female CEO and a new employee! Interview with Sora Amamiya (as Sam) and Hina Youmiya (as Mon).

The Japanese dubbed version of the popular Thai GL (Girls’ Love) drama “Gap the Series”, which began airing on YouTube in 2022, was the first on Aniplex’s new ‘aLiL’ brand of GL and Sisterhood productions, which on the 16th of September began distribution on DMM TV, TELASA, FOD, and others. The Story depicts the love between Sam, a female CEO, and Mon, who has admired her ever since Sam saved her life as a child and joined Sam’s company as a new employee. It has since gained popularity, with YouTube views of all 12 episodes topping 800 million. In the Japanese dubbed version, Sam and Mon are played by two popular voice actresses, Sora Amamiya (Tenchan) and Hina Youmiya (Youchan). We asked them about the behind-the-scenes recording process and the appeal of the show.

GL works are “Fresh” and full of “Firsts”.

What were your impressions of Gap the Series?

Tenchan: Overall, there seemed to be a lot of comedy elements, so my impression is that it can be seen without being overbearing. I think it’s a show that people who have never seen a show with any sort of LGBT+ theme before could watch with ease.

Youchan: I have the same impression, and although the romance between the girls is the main focus, I also have a very strong impression of the unique characters other than Mon and Sam. There are many characters who are loved by the audience, so from just that first episode, I thought it was really fun and interesting to watch.

Is this the first time either of you two have appeared in a GL production?

Tenchan: This is my first time.

Youchan: I have appeared in an anime that had themes of it, but it wasn’t that strong. (1)

Tenchan: This work is pretty strong.

How did you feel when you were chosen from the audition?

Tenchan: I get the impression that there are a lot of Boys’ love stories, both live-action and animated, but I didn’t know of many live-action Girls’ love stories, so it was very new to me.

Youchan: It was my first time appearing in a dubbed version of a show. I was very nervous, but I was also very happy because it was my first time being the main character in a show about a love story between girls. In many ways, I was very happy to be able to go into a new world with Mon.

The difficult president and the new employee fall in love with each other.

In the first episode, Mon, who has always admired Sam, joins Sam’s company and is surprised to meet Sam again, who is no longer the kind girl that she once was, but instead, a harsh and cold person. What were your impressions of each character?

Tenchan: Sam is quite a mysterious, or rather, she has a unique tempo. Her grandmother is strict about her family background, and she has a promise to her grandmother that if she doesn’t manage to make the company successful, she’ll be forced to be married to her finacée. She has a bit of a difficult personality because of her determination to make the company a success, but she is also seen as cool because of her own clumsiness. She’s honest, but says the opposite of what she really thinks. She’s straightforward, but not straightforward. (2)

Youchan: Mon is very maidenly or girlish. She has her ups and downs, and every time I saw her slightly sulky face, I thought it was cute. But I felt that she had a very strong core inside of her and didn’t get carried away easily.

Sam and Mon gradually fell more and more in love with each other. What do you feel drew them to each other?

Tenchan: Mon is a very hard-working and pure person, and while others are scared of Sam and avoid her, Mon is the type of girl who expresses her opinions and is willing to confront her and come into her space, so I think Sam was attracted to that core strength. Also, Sam looks at Mon’s lips a lot. So I think she also likes Mon’s lips. I also looked at them for a long time. (Laughs).

Youchan: Mon has always admired Sam, but when she meets Sam again and gets closer to her, her heart is shaken up. Her heart moves a lot, both in pain and in happiness. At first, maybe it was just a feeling of admiration or liking, but from there, I think she realised that Sam was an important person and that she could face her properly.

One of the main attractions of Gap the Series is the heartbreaking scenes, which are akin to something seen in Shoujo Manga. What is your favourite heartbreaking scene?

Youchan: I feel like there are two patterns. There are scenes where I’m like, “I’m so excited, I wonder what’s going to happen next”, and there are scenes where Sam is a very capable person, but when it comes to communication with others, she becomes an idiot. I always get a kick out of seeing Sam’s vulnerable side, which is revealed in the show. I felt moved by seeing that side of Sam. It’s so cute!

Tenchan: For me, the part that makes me feel really good is when Mon gradually starts to get back at Sam. I think it’s super cute when Mon starts to play pranks on Sam, or when Mon starts to initiate them. In the beginning, Mon is often pushed along or annoyed by Sam’s unique pace, but over time, their positions are reversed. Once Sam develops a crush on Mon, Mon comes on quite strongly, and I think it’s really cute how she teases her.

Youchan: Honestly, the more I got to know Sam, the cuter she was. I was watching every episode with a grin on my face.

Love scenes that “made it feel more affectionate” and “I feel like she’s taking good care of me.”

How did you feel when you played the role of lovers during the recording?

Youchan: When I was practising at home, I listened to the original audio to check it, but when I actually heard Sam’s voice in Japanese, there was a lot of bitterness that pierced my heart. I think it was easier to move my heart as Mon when I was able to communicate well with Tenchan. Also, I could really sense the atmosphere. I think there was an atmosphere when the two of them loved each other, and when they had a bit of a falling out was also present.

Tenchan: Especially in lovey-dovey or intimate scenes, when you can do them together, it makes you feel more affectionate. I really feel that if the physical distance between us is close, and the emotional distance is also close, you can naturally become that kind of distance without even bothering to think too hard about it. In my opinion, listening to Youchan’s voice makes me feel a sense of affection towards her. There is a sense of purity, and I feel more sorry for her when she is hurt. I also think she is very cute.

Youchan: Ah, thank you!

Do you ever feel excitement during the recordings?

Tenchan: The love scenes are quite exciting. I enjoy acting in love scenes. I feel that we can do things with more affection with each other when we are together.

Struggling with kissing noises. “I had to look up a lot, and my search history was very terrible.”

Where did you notice the differences between dubbing animated and foreign works?

Tenchan: I think it’s different in a lot of ways, but in dubbing, you have to make sure you put in mouth noises and breaths. When the script says “mouth”, you have to make a noise when you open up your mouth, like “poof”. The timing of inhalation and exhalation is specified, and I have to make sure to include the sound of my breath, so that my lines sound natural while doing that, which is a big difference from anime. I also do the kissing sounds myself. Although it’s not the same as anime, I don’t have to do a lot of kissing noises myself, and since there are instructions and specifications on what to do, I have to follow them, which is quite difficult.

Youchan: It was my first time trying my hand at dubbing, and it was completely different from the way I usually read the script. In the case of kissing, in animation, a clean lip sound is often better, but for dubbing, it’s better not to make that clean sound, depending on the position of the actor and other factors. I didn’t really know what kind of sound I was required to make. But I was afraid to go into the field with no research, so I looked up a lot of sounds on the internet, and my search history became messed up.

Tenchan: (Laughs).

Youchan: I did a lot of research. I just wanted it to come out sounding okay. Especially the lip-sync sounds, I did a lot of research.

Tenchan: Oh? Did you search up “How to make lip sounds?”

Youchan: There’s that, and also “Works. A lot of kissing.”

Tenchan: That’s so funny!

Youchan: There are a lot of things I can’t say here… I had to delete my search history because it was so messed up.

You did a lot of research. Were there any differences between dubbing and animation in terms of role development?

Tenchan: I have to be careful to not be too cute. When it comes to voicing live-action, it is very different from anime. The average age of the voices is completely different. I have the impression that in anime, there are many characters with cute or rather young voices, but in foreign films and shows, the actors have calm voices, and if you were to use the voices you would usually use in anime, you would sound too far away from the live-action show. I had to be careful not to make it sound too cute. That was the hard part.

Youchan: I also have the impression that there are a lot more phrases in dubbing than in animation. I thought that if nuances were changed even a little, the tone of the words would be completely different, like someone who is a bit gentle, a bit good-natured or a bit harsh. I paid attention to that as a part of my role. Also, as this was my first time participating in a dubbed version of a show, I was very conscious of not being constrained by the length of the film. I didn’t want to be a shrunken Mon because I was too concerned about the length, so I was more conscious of that than I normally would be.

“Youchan is just so dedicated”, and “Tenchan has always been sparkling”.

In this show, you played the role of two lovers. What are your impressions of each other as voice actors?

Tenchan: She’s very dedicated. I don’t mean to sound arrogant, but she is dedicated and never forgets to keep at her own pace. I think that is one of her biggest strengths. As Youchan said earlier, if you shrink away and your priority becomes “not to fail” instead of acting, you know that the performance you put on will turn out to be something else. I feel like she was really dedicated to her roles and her work, thinking about what she should do and how she should act.

When I listen to you talk, you sound a bit like Mon.

Tenchan: I think that’s true. It’s true that Mon is also very dedicated and doesn’t seem to lose sight of her priorities properly.

Youchan: I’m very afraid, but also very happy. I think that the only things that really get recognition are the things that are publicised, but to receive such lovely words from Tenchan, who works with me, makes me really happy and encourages me to continue to work even harder. Thank you very much.

Tenchan: No, you’re welcome (laughs).

Youchan, what do you find attractive about Tenchan?

Youchan: I had always known about Tenchan as a matter of fact, so I couldn’t get over the impression that she was really sparkling and shining all the time. But when I heard Sam’s voice, I thought, sure, her tone of voice might sound cold, but she’s so cute!

Youchan, you’re holding your head in your hands, but you think that she’s pretty?

Youchan: Yes, I do, and I’m not sure if it’s her voice or her acting skills that’s cute. I can’t go back to the first impression I had of her, and I’m not sure if it’s her voice or acting, but I get the impression that Sam is very cute. But I also get the impression that she’s very clumsy, and when she tells a story or makes a joke, she does it so straightforwardly that you can’t help but laugh. I was hearing Sam very much in my ears, because Tenchan’s voice matched Sam’s very much.

What kind of heart-wrenching love story will unfold between Sam and Mon, played by Sora Amamiya and Hina Youmiya? You will also feel the charms that only the dubbed version can offer.

Translator Notes: 1: Youchan appeared in the show “The Magical Revolution of the Reincarnated Princess and the Genius Young Lady”, where her character gets pretty intimate with another girl. 2: I believe what Tenchan is trying to say is that Sam isn’t fully straightforward in her own true feelings, but is straightforward when it comes to lying or bending the truth to others/her employees. I was also having a bit of trouble understanding what she was trying to say.

Original links: https://mantan-web.jp/article/20240920dog00m200081000c.html & https://mantan-web.jp/article/20240920dog00m200083000c.html