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BSD DVD/Blu-ray Vol.17 Interviews

Featuring Kamiya Hiroshi (Ranpo's VA); Koyama Rikiya (Fukuzawa's VA); Goto Yukari (Color Design) x Kondou Yumiko (Art Director); Kanbayashi Tsuyoshi (Director of Photography). Mainly about Untold Origins and S4 in general. It's definitely worth a read for Untold Origins enjoyers and anyone who's interested in S4 animation and artwork <333

Raws provided by beloved @nolongerodette, English translation under cut

*i don’t speak Japanese, these are mostly translated by automatic translators, i only make small adjustments, plz let me know if i get anything wrong

Kamiya Hiroshi (Ranpo's VA)

Please tell us how you felt when you learned that Season 4 would begin with "The Untold Origins of the Detective Agency." Although it would have been possible to continue the story in the present day up to the third season, the story is deliberately moved to the past and depicts the establishment of the Armed Detective Agency. I think the story of "The Untold Origins of the Detective Agency," is the episode that everyone wanted to see, and its inclusion makes the subsequent "Decay of Angels" arc even more impactful. I think that director Igarashi (Takuya) and the staff who came up with this structure are really amazing.

What is your impression of the character of Edogawa Ranpo, whom you have portrayed for so many years? Ranpo's extraordinary deductions stem from his unparalleled observational and insightful abilities, so it's impossible for me to keep up with them. I don't understand the reasoning behind his deduction, and only the results are presented. I've been wondering how far I should follow him, and now seven years have passed since production began. I have a wonderful feeling about my relationship with the work, and also about his position within the detective agency.

How did you plan to approach 14-year-old Ranpo? When I was about to deliver my first line, Waka-san (sound director Kazuhiro Wakabayashi) instructed me to be "innocent." After receiving those instructions, I thought that he must be a "child". He thought, "Adults are weird, why do they ask such things when they already know the answer?" I feet that he probably thought of "adults" as a different kind of being. However, when you reach the age where you are considered an adult, you realize that there is no such thing as an "adult.'' "Adult" is simply an extension of "child." But when you are a "child," you can't realize that. In that sense, although Waka-san may not be aware of it, I think his instruction meant that Ranpo's still a "child."

In the audience seats of a theater filled with adults, Ranpo experienced loneliness. How did you perceive that loneliness? Waka-san instructed me to whisper the line "I live alone in a world of monsters.'' When he was alone with an "adult,'' he probably just thought that there was something strange about him (Ranpo himself), and that "adults say strange things," but I think being in a group of "adults" must have been terrifying. From questions such as, "Why are they silently watching such a boring play?'' and "Why can't everyone figure out who the culprit is?'', he became conscious of the way people look at him, and thought, "Oh, maybe it's because I'm the one who's strange," as he retreated further and further inward, and the pace of his lines slows down. And finally, he felt like he's being blamed by everyone, so he withdrew into himself and his lines become whispers. I approached the recording with this in mind.

At the beginning of "The Untold Origins of the Detective Agency," a caption appears stating that it is "a record of raising children," along with Fukuzawa's narration. How did you perceive the relationship between Fukuzawa Yukichi as an "adult" and Ranpo as a "child"? Fukuzawa had decided in his heart that he would "never team up with anyone." The fourth season begins with that determination. Edogawa Ranpo, however, was such a significant presence for Fukuzawa that he ended up overturning that resolve. When Ranpo says, "Just as I calculated,'' Fukuazwa slaps him and says, "You're still...a child.'' and I think that was the first time Ranpo was acknowledged as a "child." Until then, he had thought of himself as an inexplicable, abnormal being, neither an "adult" nor a "child," but Fukuzawa tells him that he is a human being. That was a major turning point for Ranpo, and perhaps it was also a form of "parenting" for Fukuzawa.

From episode 41, the story returns to the present day and depicts the confrontation between Ranpo and Mushitaro Oguri. First of all, please tell us your impression of Poe, who acts alongside Ranpo like a partner. Morikawa (Toshiyuki), who plays the role of Poe, is someone who can deliver lines convincingly, but when Poe speaks, he's completely unconvincing (laughs). In a sense, I find it fascinating that he's deliberately suppressing his strengths in his performance. Ranpo is a character whose thoughts are hard to understand, and Poe is a rather haphazard character, so it's really fun to watch the two of them just rambling on. Poe's ability, "Black Cat in the Rue Morgue," which draws readers into the world of his novels, would be an incredible ability if it were real. If something happens, you can escape into a novel. I also found it interesting that Ranpo and the others use that incredible ability as if it were a convenient tool.

Please tell us your impression of Mushitaro Oguri, played by Takeshi Kusao-san. Mushitaro is roundabout, troublesome, and not straightforward. He's the kind of guy who gets involved in incidents that make no sense. And yet, this guy has the supernatural ability to commit "perfect crimes," erasing all evidence. If he hadn't appeared in this way, he would probably have been the strongest enemy Ranpo'd ever faced. But because he's roundabout, troublesome, and not straightforward, he accepts the wish of his long-time acquaintance* Yokomizo and can no longer lie in front of Ranpo. Kusao-san, who plays Mushitaro, is a senior colleague of mine at the same agency, and he's 10 years older than me. He's someone I've always looked up to since I started voice acting, so having them act as my counterpart and exchange lines with me made me realize that I've also built up my own career. I think it‘s a truly valuable and meaningful opportunity.

*the exact word used here is 腐れ縁: (undesirable but) inseparable relationship

In episode 46, it was revealed that Ranpo's involvement was also present in Akiko Yosano's hiring. What is your impression of the scene where he recruits Yosano to the Armed Detective Agency? "I don't want your ability. What I want is your kindness." "It doesn't matter if you have any abilities. It's your kindness that matters.'' I felt that was an unusual thing for Ranpo to say. I think Ranpo, after locking eyes with Yosano (Akiko), saw that she is a necessary member for the Armed Detective Agency and also discovered the void in her heart. That's how he was able to move her heart. I think that Ranpo is a person who could see through the essence of things.

In the Decay of Angels arc, were there any characters or cast members that caught your attention, Kamiya-san? It's definitely Fukuchi Ouchi, played by Akio Ōtsuka. Fukuchi aims for something very big, and I think it was great that Akio-san plays that role. Akio-san is a senior I deeply respect, and he's also incredibly considerate, no matter how much I tease him, he just laughs and says, "Oh, really!" One time, Akio-san said, "I'm happy as long as Kamiya teases me." I was so happy that he sees me in that position. With Akio-san playing Fukuchi, Ranpo can interact with Fukuchi on equal footing. I'm incredibly grateful for that relationship as well.

Lastly, please give a message to all the "Bungo Stray Dogs" fans who purchased the package! This work is created with tremendous passion by director Igarashi and the staff, so it would be a real shame if it ended after being aired on TV. I think it's wonderful that it will be available in long-lasting formats like Blu-ray and DVD, rather than streaming, which may disappear someday, and I'm grateful for it. Volume 17 features episodes in which Ranpo plays an active role, and I think you will enjoy it even more if you watch it again after reading this booklet. It would make all of us, the staff and cast, very happy if this package becomes a source of comfort for everyone. "Bungo Stray Dogs'' is an important work for me as well, and I feel fortunate to have been able to be involved in it. I hope that you will continue to love this work in the future.

Koyama Rikiya (Fukuzawa's VA)

The fourth season began with "The Untold Origins of the Detective Agency," but how was the first recording? I think it was the first time I've had so many lines as Fukuzawa. I was both happy and nervous when I went to the set. Director Igarashi and Sound Director Wakabayashi both place great importance on the realism of each moment, the changes in thoughts, and the shifts in actions, so I have a lot of trust in them. I'm glad I was able to have such a good exchange with Ranpo.

Please tell us about your impression of Fukuzawa at the time, what you valued most when playing the role, and what challenges you personally faced. Unresolved feelings about the past. Things that cannot be undone, and things that must be pursued from now on. The discovery of each individual's humanity... I suppose that's about it. When studying Fukuzawa, I approach the role with a deep admiration for his captivating charm, his ability to draw people together, and his capacity to win people over. And of course, it's a challenge to the younger generation! It's the stage of the water selection.* His signature line, "I won't lose to the youngsters yet!"

*some words in the sentence are blocked so i can't fully translate it

Please tell me what you felt when you saw the scene where Ranpo was given glasses under the false pretense that they would allow him to control his ability. For example, "acting" means "becoming serious while concentrating on fiction." Pavlov's dogs, known for their conditioning experiments, also apply to humans. Everyone experiences "the switch being flipped." Just a small switch can dramatically change a person.

What do you think of the scene where he raises his voice at Ranpo, who has been kidnapped, and shouts, "Don't be ridiculous!"? Emotions aren't monolithic. For example, you might feel "I hate them, but I love them," or "They're arrogant, but I trust them." You might even feel "They're infuriating, but I want to protect them."

What impression do you have of Edogawa Ranpo? It often happens that we are moved by the unique qualities we see in young sprouts. And it is a joy to be inspired by outstanding talent. Time flies when we are having delightful time.

"The Untold Origins of the Detective Agency" is titled "A Record of Child-Rearing," but what aspects of Ranpo's growth do you notice, and how do you perceive the changes you observe in Fukuzawa alongside him? Those who are meant to grow will grow. Those who possess the potential for growth will seize opportunities and grow. For example, one doesn't "become" an actor; one "is" an actor from the beginning. Depth of character is created by sad experiences, and new encounters ferment it. Sometimes, it provides courage.

Once again, what did you feel when the two (Ranpo&Fukuzawa) met? Life is a series of coincidences. You cannot calculate and control everything. Whether or not you can enjoy these coincidences is where the joy of life lies. Coincidences come with friction, but "Isn't that also enjoyable?"

Murakami committed the crime in order to master his acting skills, but as a voice actor, have you ever experienced a change like Ranpo's, where "the scenery you see changes"? Growth doesn't always correlate with effort. The steps on the stairs aren't even. But sometimes, things that seemed impossible no matter how hard you tried suddenly become possible. Sometimes, someone you never expected will give you a push in the right direction. I'll never forget those tears, I will engrave that in my memory. Let me reiterate, there are moments when sad events turn into something to be grateful for!

What were your thoughts after seeing the Armed Detective Agency being awarded a medal but still being driven into a corner in "Decay of Angels" arc? The pride of receiving an honor. And perhaps, the pride of deliberately rejecting an honor. Hesitation and hesitation, understanding the feelings of others, Fukuzawa must have accepted the medal with determination. Hello, trials, and goodbye, sorrow. Looking back, nothing was in vain. "Unexpected"—nothing is more exciting than that. Everything is unexpected. Reasoning, refinement, exploration, and beyond, the unexpected approaches. A great unexpected. And isn't that why it is so enjoyable?

What are your thoughts about Akiko Yosano's past? The guilt that comes from knowing someone else's past. And from that, affection can arise. Human emotions are never monotonous, no matter the time or situation. Sometimes, even we ourselves don't fully understand them. And delving into that is part of this job.

What is your impression of Fukuchi Ouchi? Bold and uninhibited behavior cannot exist without a certain level of sensitivity. In particular, it is precisely because one is sensitive towards others that one can truly project an image of boldness and uninhibitedness. It is only when the performer embodies this that the character comes vividly to life.

What other new characters are you interested in? I find the gap fascinating. Their voice, appearance, outward personality, circumstances, and position—when those expectations are subverted, my heart races, and I'm drawn to them. So, who could it be?

Lastly, please give a message to everyone who purchased the package! *I am utterly astonished by the diversity, complexity, and boundless nature of imagination. Manga has become a part of world culture. The same goes for animation! When I previously watched the Heiji Monogatari Emaki, I had the realization that "this is animation!" Thank you very much for purchasing "Bungou Stray Dogs," our National Treasure! With all due respect, Samurai Japan and Voice Quality Japan will not disappoint your expectations. We are experts in our craft. We will deliver it to you with all our heart and soul.*

*This part is very blurry, sorry it's a rough translation

Goto Yukari (Color Design) x Kondou Yumiko (Art Director)

Season 4 opened with "The Untold Origins of the Detective Agency," which featured striking black-and-white visuals. Goto: I once asked Director Igarashi if he would consider animating "The Untold Origins of the Detective Agency." At the time, he said, "It would be difficult to adapt that into animation," so I was happy to see that the time had finally come. Before the meeting for episode 38, I heard that the director was considering using a monochrome style, so I was talking with Kondou-san, saying, "It's not just going to be plain monochrome, right...?" Kondou: He said that although it's in black and white, he wanted to add color to certain scenes. I think he also said that he didn't want it to simply be something that people would think, "Oh, it's in black and white because it's set in the past." I understood what the director was saying, but to be honest, I was confused about how to actually go about making it. For example, it would have been good if we could have set some kind of rules to explain to the background artists, such as "add color to the dark areas and completely remove color from the bright areas," but it was difficult to find a compromise, and in the end we ended up adjusting each shot one by one. Goto: In episode 39, the scene where Fukuzawa wanders around the theater looking for Ranpo was impressive, with the colors changing one shot at a time, starting with green, then yellow, purple, and red. I think the director liked to continue using colors to represent changes in emotions throughout the episode.

Goto: In episode 45, the scene from when Atsushi and the others enter Manhasset Security to when they head to the conference room also had a gradual shift in color towards a more unsettling tone, which was quite challenging. Kondou: That's right, that also required adjustments on a shot-by-shot basis. Goto: Regarding eye color, it's something we've emphasized throughout this work. Even when the entire face is in shadow, we've made sure that the eye color retains so that the expression can still be seen. We were thinking of keeping the color of the eyes in this monochrome scene, but the director suggested, "Why don't we leave the color only for those with abilities?'' It was then decided that only Fukuzawa and the young boy, Odasaku, would have different eye colors. Odasaku's hair is also described as "the boy with red hair," so we kept it red enough to make it clear. Kondou: This is my interpretation, the scene where Ranpo awakens and the whole scene turns to color is an important change, but this is just the first step. After the scene at the shipbuilding company site, the director said, "I want the color of the sky we look up at at the end to appear the most sparkling." In fact, after filming that climactic scene, the director himself even revised the original drawing himself. That's how important that shot was.

What do you think of the following arc "Decay of Angels?" Goto: When I first read the manga, I wondered how they would translate the sheer brutality of the scenes into animation. In fact, the photographs of the Decay of Angels victims turned out to be even more realistic than I had imagined. Up until then, we had been using a bright red color for the blood, but it was decided that it couldn't be broadcast on television, so even though we had finished filming, we had to reduce the saturation and adjust the colors to be a little darker. It was the result of every section working too hard (laughs). I was also shocked that Nikolai's dismemberment was depicted exactly as in the manga, as I had expected it to be portrayed more abstractly. Kondou: Up until about halfway through episode 40, it was mostly monochrome, and episode 40 ended with a blue sky. So when I saw the green sky sweeping over the Marine Tower at the beginning of episode 41, I felt like it was finally back. But at the same time, it also meant that the trouble I caused Goto-san because I added more colors had also returned... Goto: When we're ordering art boards, I often heard the director say, "I think we can use normal colors here," and I think, "It looks like there won't be many color changes this time," but in the end, there are no scenes with normal colors at all. Kondou-san sometimes creates backgrounds with colors that we never imagined during the meeting, and the director loves that kind of work from Kondou-san (laughs). Kondou: The director lets me work freely within the scope of the image he envisions. Goto: I'm always captivated by their exquisite chemistry, but by the fourth season, it's all within my expectations. I believe that their approach of looking at the finished background and then deciding on the colors is the best way to achieve the desired results. Kondou: When Goto-san said to me, "I thought this was normal," I glanced at her and asked, "You're not angry, are you?" (laughs). She's never actually gotten angry at me, though. Goto: I'm not angry (laughs). I do get flustered when the director asks me, "So, what about the characters?", but I guess that's part of the fun of color design. Kondou: Generally, once we've decided on background patterns like "daytime, evening, and night," we proceed by adding the characters' colors to them. However, Goto-san is particular about details, so she creates the colors each time to make sure the characters blend in with the background. You can really feel her desire to create the best possible work. Goto: For particularly important scenes, we overlay the characters on the background and adjust the colors. The production team, including the colorist, gathers materials to ensure that what we want to do fits within the schedule, and I've never been told, "That's impossible, Goto-san," so I'm grateful that the production team is so competent. Kondou: That's right. Goto: Another memorable scene is Poe's supernatural space in episode 42, where Mushitaro and Ranpo enter. The characters' shapes are shifted to green, the yellow representing the supernatural ability is added through post-processing, and the background is purple, creating a unique visual space. Normally, if the space is purple, the characters' colors would also be shifted to purple, but this use of colors that are offset from the background is a characteristic feature unique to "Bungo Stray Dogs."

Could you tell us about any scenes in terms of color and art that you paid particular attention to? Kondou: It's difficult to pick a specific scene to highlight, so let me just say "birdcages." Although we made many of them, they're not very visible, but the director insisted on them appearing in various scenes. This isn't limited to season 4; for example, there was one in the scene with Ango Sakaguchi in the movie "DEAD APPLE." Whether it represents "constraints" or "principles," or what it symbolizes, differs depending on the character, and it's something that should be left to the viewer's judgment. The director prioritizes metaphorical elements in his shots, such as "I want this to be in the background of this person," rather than matching them to the preceding and following shots. I often ended up correcting them to fit the flow, but he kindly explained, "This character is feeling this way right now, so this is how it should be," which I appreciate. I once had an experience on another set where I was told, "Just do it normally," and I wondered, "What does 'normal' even mean?" When the director gives orders with such a clear vision, it makes the work enjoyable as I think about how to meet that vision. Goto: For me, it's the scene in episode 46 where Ranpo tries to recruit Yosano into the Armed Detective Agency. I usually make the eye color stand out, but here Yosano is withdrawn and isolated, so I made her eyes dark and murky. And from the point where Ranpo hands her the ornament and begins to say, "I don't want your ability," I initially has planned to show highlights appearing in her eyes to represent her returning to "this" world, but after consulting with the director about it, we decided to have them "return from dark to a bright." It's a scene that I personally love and it brings tears to my eyes, so I was very particular about it. Also, regarding the sunset scene, the director said, "I want Ranpo's shirt and the clothes Yosano was wearing to look white," so I added a bluish tint to the shadows in those areas to make the white stand out.

Kondou: Speaking of white, I'd also like you to pay attention to the "paintings" displayed in Sigma's manager's office. Initially, there was talk of "all white paintings, with just one that was completely black," but it wasn't visible in wide shots, so we hastily changed to the current artwork. The original plan was for the other side to be full of picture frames. I think there's meaning in that as well, so I'd like you all to think about it.

This season featured many new characters. Which character are you particularly interested in? Goto: It's not a new character, but it's Tachihara. There's no particular color differencea between when he's with the mafia and when he's with the hunting dogs, but the changes in his demeanor is something to look out for. Actually, his eyes are the same color as his older brother's. Akutagawa and Gin seem to have similar eyes, so this work might hint blood relationships through eye color. Kondou: Personally, I'm drawn to duos that can play both serious and "silly" roles. For example, Dazai and Chuuya in "Double Black." In that sense, I liked the interactions between Suehiro Tecchou and Jouno Saigiku, which lighten the mood a bit amidst the heavy story. Also, although he's not a new character, I like Hirotsu Ryuurou. I think his conversation with Tachihara in episode 50 is really wonderful.

Finally, please give a message to all the "Bungo Stray Dogs" fans who purchased the package! Goto: Since the staff in each section have put a lot of effort into creating this work, we hope you will not only watch it once, but also rewatch every scene multiple times and immerse yourself in the world of "Bungo Stray Dogs." Kondou: First of all, thank you so much for watching. This work has a lot of characters, but I think its greatest charm is how each of them runs around with their own "feelings" and cause chaos. Please continue to watch their adventures in the anime!

Kanbayashi Tsuyoshi (Director of Photography)

What kind of discussions did you have with director Takuya Igarashi regarding the animation adaptation of "The Untold Origins of the Detective Agency"? Even before the storyboards were drawn, there was a request to make the first two episodes monochrome. I believe it was Enokido (Yoji)-san's idea. As the director, I felt that simply making it monochrome would result in a monotonous screen, so I wanted to add color to certain scenes or shift the focus slightly towards background color.

What were the challenges in achieving that effect? The inability to use color was, of course, a major drawback. However, this allowed us to create beautiful shadows, so we were able to emphasize the contrast between sunlight and shadow by adding light to the background and colorist's materials. With "Bungo Stray Dogs," you can often discern the intention behind the use of light in the storyboards, such as "they want to show silhouettes."

The lighting in the cluttered room where Fukuzawa and Ranpo meet is quite dramatic, isn't it? The background that came up was excellent. There was a part of the floor where the sun was hitting it well, and I was able to imagine a natural diagonal line in relation to that point and the window. All the documents spread on the floor were laid out by the the background artist, and the movement of them fluttering was created with SDCG, so it was actually a scene that required a lot of effort in various aspects.

One possible approach would be to create the animation in color and then convert it to black and white, but do you understand the director's intention of not wanting to do that? Certainly, that seems like the easiest method. But, as the director said, simply converting to monochrome would make the entire episode incredibly monotonous. I think we were doing something quite challenging, we decided to rely on the storyboards, which are the blueprint for the image the director envisioned, and create each scene while controlling the color tone. It's not a very common approach, and I think the one who had the hardest time was colorist Goto-san. The scene where the world changes from monochrome to color from Ranpo's perspective is a exhilarating moment where the scenery completely transforms. To be honest, what we did there from a filming perspective was no different from usual, so I simply enjoyed it.

Were there any other details you focused on when creating the visuals for "The Untold Origins of the Detective Agency"? It's the Sekai Gekijou (Theatrum Mundi). First of all, I was really drawn to the space and stage design that the art department had created. I personally love the exciting feeling you get when you enter a theater, so I was particular about the shot of the door opening. The movement of opening the door was done with 3DCG, and the initial instruction was to then just have the camera zoom in on the background as usual, but we separated the materials and slid each layer with a different width to create a sense of depth.

In the subsequent "Decay of the Angel" arc, what aspects did you feel would be the key points to focus on during filming? The new characters who appear as opponents of the Armed Detective Agency, such as Decay of Angels and the Hunting Dogs, they have strong personalities and powerful abilities, so we thought about how to translate that into animation.

So, could you talk about what aspects you pay particular attention to when it comes to demonstrating supernatural abilities? In episode 42, Ranpo and Mushitaro enter Poe's supernatural space. Since it's not clearly depicted in the original work, I struggled with how to visualize them being in a special space. The background is abnormal color, so I thought I could express it with just that and the color of the cells, but I wanted something more striking, so I added flowing particles and made the "letters" float like plates. I had the image of the characters standing in a space where letters were flowing in the storyboard stage. I think the challenge was how to using that as a starting point to make the letters move in an appealing way, .

Are there any other new characters that you found particularly challenging to create? In episode 50, there's a scene where Teruko activates her ability and the security guard at the Sky Casino begins to age; the morphing process for that scene was challenging. Initially, we were only given three frames of material, which wasn't enough to create the "gradual" effect. Due to scheduling constraints, some viewers are seeing the best possible version of the footage. The packaged version, however, features a fully animated sequence with paths drawn by the production team, resulting in a much more satisfying visual.

So you go to such lengths into portraying even minor characters? It's related to the "supernatural ability," which is an important part of Teruko's personality. In fact, I think that's what's important about "Bungo Stray Dogs."

I see... By the way, are there any characters in the fourth season that you're personally paying attention to? Fukuchi Ouchi. He looks incredibly strong even in the opening scene, and I'm curious to see how the detective agency will confront him.

New settings have also appeared, such as "Meursault Prison" and "Sky Casino." Meursault's background is fully CG, and the design was created by the 3DCG staff. It's rare to have the opportunity to work on something like that from start to finish, so it was a very rewarding project. I was conscious of creating a design that would look great even though it is a prison, and I hope viewers will notice the contrast between the plain beds and the classical decorations in the details and other elements. It's a scene of dialogue with only two characters, so I think it was a scene that everyone, including Director Igarashi, who drew the storyboards, had to put their heads together to figure out how to make it visually appealing. The Sky Casino is also a large-scale facility, and its movements are created using 3DCG. What I remember most from the work was the Gatling gun. I think the 3DCG made its movements look impressive. In fact, in the TV broadcast version, the color has been toned down due to restrictions on light afterimages, so the version on the package is the original version.

When we spoke before, you mentioned that "Director Igarashi's works often require me to deal with the 'clouds' in the end." Did you encounter any difficulties in that regard this time as well? This time, I was more impressed by the opening scene with the moving clouds than by the sky casino scene towards the end. In terms of filming, I basically handed over a basic animation created with CG to director Yoda (Nobutaka) of 10CAUGE, and when I saw the finished product, I was impressed by the subtle adjustments he made.

Are there any memorable interactions with other sections, such as those related to color or art? While there are challenges in terms of overlapping work areas with the colorist, I always feel that Goto (Yukari)-san is incredibly meticulous in her work. When I was listening to Director Igarashi's explain, there are times i thought to myself, "Huh, how do we do this?'', but she was able to skillfully translate the orders and incorporate them into the visuals. And the same can be said for art director Kondou (Yumiko)-san. Whether it's an imaginary scene or a regular scene, She brilliantly visualizes the director's ideas, such as changing the color of only the solid lines.

Could you tell us again about the key points of filming for "Bungo Stray Dogs," specifically what you valued and the shots you were particular about? Since this work is based on the concept of literary giants, one thing that has remained important to us since the first season is the beauty of typography. There are many scenes where printed text appears, so we want to highlight its beauty. We create all the text animations through filming, but we were particularly meticulous about the typography in episode 47 before Hirotsu Ryuurou's ability, "Falling Camellia," and I think we managed to create it quite well.

Finally, please give a message to all the "Bungo Stray Dogs" fans who purchased the package! From the director onwards, each of the production staff is approaching the project with their own unique vision, making it a challenging environment for me as well. It's not so much a challenge as it is a chance to experiment and have fun with different approaches (laughs). This season also features a succession of fascinating characters, so I hope you'll find your favorites and enjoy the show.

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