Interview between the voice actors of Ren & Akechi - P5 Anime Reversible Translation
I don't remember where I got these scans since it's been so long, but I decided to translate these because these are ShuAke related and this has an interview involving the VAs of Ren and Akechi (Jun Fukuyama & Soichiro Hoshi).
I'll translate the Reversible cover first!
Translator Note: The Protagonist is called "Ren (蓮)" in this.
(英語の翻訳は間違いがあったら、直してくださいね！ 🙏)
Translation:
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Reversible
Whether you’re someone who wears a mask and a costume and strides gallantly to another world, or someone who holds their breath waiting for dawn to break, while becoming crushed by the weight of everyday life and the absurdity of the world…
When you realize that both of these forms are part of your true self, or when a Phantom Thief’s path and a Detective’s gaze intersect, what scenes will unfold behind the dazzling illusion that forms when the two sides intertwine?
Ren Amamiya
A 2nd Year high school student who transferred to Shujin Academy, a private high school, in the Spring. After a certain incident, he awakened his “Persona” and formed the “Phantom Thieves of Hearts”.
Goro Akechi
While still a 3rd Year high school student, he holds the title of a Detective and his skills are so great that he has put the adults to shame. The number of cases he has solved so far surpasses the police.
The moment that decides the approaching fate.
The outcasts, who were on the verge of giving up on “society”, have met each other and unleashed their anger that was surging within themselves, by awakening their Personas.
“Thou who art willing to perform all sacrilegious acts for thine own justice! Call upon my name, and release thy rage!”
Starting with Ren’s awakening with Arsene, one by one, the thieves raise the banner of rebellion in another world… and so Ren and the others have formed the “Phantom Thieves of Hearts”.
While continuously confronting the past wounds they each carry deep within their hearts, the thieves are comrades who laugh and support one another, while standing up against the strong and helping the weak.
Standing against them, whose soul burns for a simple “Justice” that doesn’t forgive those who are unforgivable… lies a single Detective. What “Truth” did he saw that he will bring to the Phantom Thieves?
This feature explores the reversible fates and dualities such as Light and Dark, Justice and Evil, and Detective and Phantom Thief in “PERSONA 5 the Animation”.
It also features interviews with a splendid cast who are indispensable to the Persona series: The Sound Composer Shoji Meguro, the Singer Lyn, and the Director Masashi Ishihama. With them, we reflect on the battles fought so far and the upcoming climax.
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Now I will translate the interview section!
Ren Amamiya
CODE NAME: JOKER
"That is certainly, without a doubt, justice."
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Goro Akechi
CODE NAME: ???
"Nice to meet you… this is the Phantom Thieves' final mission."
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The united front of the Detective and Phantom Thief finally begins!
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Jun Fukuyama (Ren VA) x Soichiro Hoshi (Akechi VA)
A conversation between rivals
A Phantom Thief and a Detective. Ren and Akechi, two people who should naturally be on opposing sides, finally join forces…….! A special interview has been arranged between Fukuyama and Hoshi, who have played these two rival characters.
2 contrasting figures quietly facing each other…
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Interviewer: How do you approach the characters you voiced? What changes have occurred over the course of the episodes?
Fukuyama (Ren’s VA): Ren is the player’s character in the game, and since he isn't really given any extreme personality traits, he expresses what kind of person he is through his expressions and his responses during conversations. The way everyone in the Phantom Thieves and Akechi perceives “what Ren is like” naturally shapes his character. Thanks to that framework, I've been able to incorporate a bit more freedom and creativity with each recording session. When I was performing his Joker side, I consciously made sure to emphasize the contrast between that and his everyday Ren side, up until the Madarame Palace. Now, I can blend both of his sides together, giving a little substance to each scene without going out-of-character. I feel like everyone experiences that kind of feeling during the recording sessions.
Hoshi (Akechi’s VA): You wonderfully gave substance to your performances during the testing phases didn’t you?
Fukuyama: I’ve added plenty of fat to it. Then, I would remove the excess fat during the actual recording…. Ultimately, Miyano-kun (Mamoru) ends up being the one who single-handedly takes on all the fatty parts (laughs).
(Translator's Note: He’s using the process of cooking meat as a metaphor. Also, Mamoru Miyano voices Ryuji)
Hoshi: Akechi has the tendency to suddenly appear and then disappear again for a while, which considerably keeps you in suspense doesn’t he? Even though I know how the story will unfold, I didn't know exactly when or how Akechi will act in the anime until I receive the script. So I keep fluctuating between joy and disappointment depending on whether or not I have a role in an episode (laughs). During the voice recording sessions for the video game version, I explored various kinds of approaches for Akechi’s character, but instead of trying to aim for a specific impression, I focused on portraying him as a character who can be interpreted in multiple ways by the viewers. As Fukuyama-kun said, thanks to the atmosphere of everyone being in the same recording sessions together for the anime, I think we were able to deliver scenes where the voicelines were so tooth-rottingly pleasant. Honestly, Akechi was a difficult character to voice, but I enjoyed voicing the dialogues he has.
Fukuyama: Because of Akechi’s role as a detective, he was difficult to portray wasn’t he? “Persona 4” also has a detective character so you would assume that this kind of archetype would be carried over, but when you see Akechi, you start wondering “What exactly is a detective?”. While he is stylish in appearance outside of the Metaverse, it feels out-of-place compared to the “modern” everyday look of the Phantom Thieves. Like his flaxen hair and his gloves (laughs).
Hoshi: Oops, maybe I was a bit too conservative (laughs).
Fukuyama: In regards to Akechi’s behavior and speech, he had provoked Makoto and made probing remarks to Ren, making him a character whose suspicious nature stood out above all else. He didn’t seem interested in Ann and Ryuji though (laughs). But when I listened to Hoshi-san's voice acting, there were moments where I thought “Maybe he is not suspicious after all?”. Akechi’s dual nature….. the way it shifts back and forth between both sides, I think “just right” perfectly describes Hoshi-san’s portrayal of Akechi.
Interviewer: I'm curious about the relationship between Ren and Akechi.
Fukuyama: I think almost everything about them, including their circumstances, are completely opposite of each other. Akechi stated that justice encompasses social morality, and took the stance of judging Ren and the Phantom Thieves as evil. I believe that they were both aiming for the same thing in the long run, but their approaches are completely different. However when the 2 of them were talking alone together, there was a unique atmosphere of mutual understanding between them. Ren would just mutter something briefly, but Akechi was able to pick up on it, expand on it, and make it work. Even though Ren just responded to him normally, Akechi would say “You really are interesting aren’t you? You always go beyond my expectations.”
(TN: Wait a minute, is that why Akechi always says things like “You’re very interesting” when he talks to Ren? Cuz his detective self is able to interpret the deeper meaning of the small things that Ren says? 😳That’s how Akechi was able to understand him? *In my ShuAke tinted glasses* Is that why Ren fell in love with him?)
Hoshi: I’m being manipulated by Ren (laughs). The chess scene with the two of them was fun, wasn't it? Their conversational exchange in it is like a chess game itself. It was also a scene that explained their situation to the viewers but their dialogue exchange was skillfully done.
Fukuyama: What's interesting about the scenes between Ren and Akechi is that after you finished watching the entire anime, you’ll notice so many things when you rewatch those scenes again. It makes you wonder what Akechi was feeling at that time as well as various other things.
Hoshi: By the way, Ren is quite a trendy person isn’t he?
Fukuyama: He definitely is! Glasses are glasses, but big black-rimmed glasses? Yeah he’s completely trendy (laughs). Moreover, he became gentler each time a new heroine joined his group. In Episode 23 during the culture festival, he told Haru-chan, “let’s have fun”, and before that, he hung out with Makoto. It felt like he was making a conscious effort to support them.
Hoshi: In that sense, I am envious because Akechi is socially awkward.
Interviewer: Please tell us about your thoughts on the themes depicted in “Persona 5” and your thoughts on the Phantom Thieves.
Fukuyama: “The Phantoms” are a group with its flaws aren’t they? They don’t plan their activities, but instead take on battles one-by-one as they encounter them, and everyone grows little by little together. Each lonely adolescent in that group comes to understand the importance of connection, as they open their once-closed hearts. They embrace their vulnerabilities and move forward together. I think that's what resonates with so many people.
Hoshi: I think I am jealous about that. Because I am the type of person who wants to be on that side (laughs). In the other works that I had done, I often get roles of characters who are the loner type where they want to join the main group but they can’t, so whenever I see the Phantom Thieves, I always think that they are so cool. Also, regarding this series, the characters' personalities and the cast's overall vibe align so well that I personally feel even more connected to them. Even though Ren doesn’t talk much, Fukuyama-kun sure talks a lot (laughs).
Fukuyama: Ahahaha!
Hoshi: Ah, but during the beginning of the game, I did wonder if Miyano-kun’s portrayal of Ryuji was different from his usual character image. Either way, I think Ryuji is Miyano-kun now.
Fukuyama: That's what makes Miyano Mamoru so amazing. Although the story and direction remains unchanged from the game version, the staff and cast, as well as the viewers, have unknowingly changed their impression of Ryuji over time. Ryuji, you're really full of life, aren't you~? We often get retakes where the direction was “Let’s tone it down a bit here”, but Miyano instead tone his lines up higher and higher (laughs). And then Ann joined in too……
Hoshi: Oh yeah, at first Ann gave the impression of a girl who is out of your league and is unapproachable, but she turned out to be such an easygoing girl, didn't she?
Fukuyama: However, while Ryuji was gradually boosting up his voicelines like that, there was only one person who blew it away with their voicelines in one fell swoop. It was the scene in Episode 23 where he ate a takoyaki.
Hoshi: That was me wasn't it? (laughs)
Fukuyama: Yeah, it was so hilarious that everyone in the recording booth was shaking with laughter! (laughs). I think the significance of including that scene in an anime that has such a meticulously crafted script and direction, is really great.
Hoshi: Seriously? For Akechi to go from a pleasant boy to suddenly falling apart, I was like “are you okay”?!?! But even so, the best thing about this anime is that everyone was having fun with it. Both Miyano-kun and Sugita-kun (Tomokazu) were really going all out. Well, many of their ad-libs didn’t make it into the anime, but some of them still bled through, so I hope the viewers will be able to notice them. I wish that there could have been more ad-libbing or something.
(TN: Tomokazu Sugita voices Yusuke)
Interviewer: The second season is finally reaching its climax.
Hoshi: It's where “Akechi finally joins the Phantom Thieves!?!?” is going to be the current flow of the story, but the anime is already reaching the final episode huh? Though I will feel a bit lonely, I will do my best. I’m a little scared….. of how everyone will view Akechi from here on out, but I want to breathe life into him as he heads straight down the path that he believes in. After all, things aren’t always going to exactly follow what happened in the game. I myself am looking forward to seeing how it will all end.
Fukuyama: I think the heart-pounding excitement you feel as the climax approaches is completely different between those who had played the game, and those experiencing the story for the first time through the anime. For those who had played the game, they will probably be like “Wait huh? It only has this many episodes!?!?” (laughs). However, what these viewers/players both have in common is that they will feel the exhilarating experience of betrayal at least once. So everyone, please brace yourselves and enjoy the climax of this story.
(TN: The P5 Anime’s final episode is when Akechi shoots Joker in the interrogation room. Movie-length Specials came after that, where it covers Shido’s palace and Yaldaboath. So this interview was done before the P5 Anime aired the finale episodes where Akechi shoots Ren. Man, I wanted them to talk about that more asdfghjkl)
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Extra
REN’S JUSTICE
Ren helped a woman who was being harassed by a drunk man, but when the man fell and injured himself, he falsely accused Ren of assault. But when Ren was faced with Kamoshida’s misdeeds, he became convinced that what he did in the past was not wrong and awakened his Persona “Arsène”. To carry out the justice he believes in, Ren leads his comrades as the leader of the Phantom Thieves.
AKECHI’S THOUGHTS
Akechi is a High School student who holds the title of detective. He always said that if there are Phantom Thieves capable of manipulating people’s hearts, they should be judged by the law, however he disagreed with the theory that the Phantom Thieves killed Okumura. Furthermore, Akechi confessed to the Phantom Thieves that he had wandered into the Metaverse. He said that he was attacked by a man in a black mask, which is how he awakened his persona…..
CONTACT 1
Hearing rumors about the Phantom Thieves in the city, Akechi encountered Ren for the first time in Leblanc. From then on, as they increasingly began to interact more, the two exchanged their thoughts on the pros and cons of the existence of the “Phantom Thieves of Hearts”. Each time they did, Akechi increasingly grew more interested in Ren….
(TN: Goro is developing a crush I see lmao)
CONTACT 2
The two have had interactions separate from the activities of the Phantom Thieves, with Ren lending his support to the investigations that Akechi was involved in. When Akechi heard Shido condemning the Phantom Thieves, he expressed his own opinion that the Phantom Thieves were not related to the series of suspicious deaths.
CONTACT 3
Akechi, who has been secretly tracking the Phantom Thieves' movements, finally discovered the true identities of Ren and his gang. He sought direct contact with all members of the Phantom Thieves, and told them that his rebellious spirit against the "terrible adults" is his sense of justice. Then he proposed a joint operation with them.
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Whew, I finally translated that interview! I'm glad to provide more ShuAke info! I will be translating the P5R Artbook next whenever I have the time! 🙏💖
Exclusive interviews with Nobuhiko Okamoto and Jun Fukuyama, the voice actors of Rin and Yukio Okumura (respectively), from Blue Exorcist: The Chronocyclic Labyrinth
Interviews from complete guidebook (beige production book) with Maeda, Kouyama, voice cast and Brunel
Full book:
File. 1 Interview with creators: Mahiro Maeda
Choosing Albert as the protagonist
Director's intention
How did the project for "The Count of Monte Cristo" come about?
Maeda: I love the science fiction novel "Tiger! Tiger!" (translator’s note: another name for “The Stars My Destination”) written by Alfred Bester, and for a long time I've thought, "That's great, I want to do that." But I found out that I couldn't animate that work as is due to copyright issues. But then I thought about it, and I realized that it's based on Alexandre Dumas' "The Count of Monte Cristo," so I decided to try making "The Count of Monte Cristo" into a space opera. However, I had only read a simplified version of "The Count of Monte Cristo" when I was a child, so I decided to reread it. And I found it incredibly interesting. I decided to do it properly. If you read it carefully, it's really interesting. The story itself has a great deal of universality, and I felt that it was a work that is still relevant today. If you delve into the historical context and European politics of the time, you'll understand why the story unfolded the way it did, and the scope of the story itself, the scope, is incredibly broad. It encompasses everything from Paris to the Mediterranean and Turkey, and if you want to enjoy it, you can explore the catchy international political situation of the time in great detail. However, to read it in that way requires a certain level of study, a certain level of foundational knowledge. While reading the original work is fine, in that readers can read at their own pace, for a TV anime, especially a 24-episode series, I felt that simply presenting it as is would limit the audience. So I thought that if, I could create something that wasn't constrained by such things, something that could be interpreted as "a story of the present, a story of the future, a story of the past, it's up to the viewer," then I could create a truly universal story. That's partly why I made it science fiction.
What was your intention in making Albert the protagonist?
I was constantly troubled by the fact that I couldn't finish the story if the Count was the protagonist. The original novel is incredibly interesting, but since it's a very long newspaper serial, there are many parts where I question its structure. For example, towards the end, the character seeks salvation in Christian morality. The Count adjusts his moral compass by providing salvation to the relatives of the person who was his benefactor. In doing so, he balances the revenge he has committed. The good deeds at the beginning and the good deeds at the end sandwich the horrific event of revenge, so in a way, it's a clever structure, but there were parts that made me think, "Is that really okay?" Does performing good deeds cancel out the fact that revenge was taken? Revenge stories are incredibly appealing because the characters do what the reader cannot do. As entertainment, they are incredibly interesting. However, looking at the world today, gruesome news are commonplace, and in such a context, I've always wondered if it's really okay to have a story like "Tiger! Tiger!" where the character says, "I got my revenge! I feel so good! It's exhilarating!" That's when I started questioning myself a lot. While I find revenge exhilarating, I also have a cowardly side, and I'm still afraid of violence. When I thought about how I, with those feelings, could create this story, I realized that instead of simply making it a thrilling revenge story of the Count, it would be better to give it multiple perspectives to expand the story. As I kept searching for a clue to that, my attention was drawn to the boys who invite the Count into their home. In Dumas' novel, he dedicates several pages to carefully depicting how two young men, Albert and Franz, invite the vampire-like Count into their mansion. As I read, I felt that the purity and innocence of the boy Albert overlapped with that of the Count, who was framed in the past because of it. Also, by interacting with the targets of his revenge, the Count's heart would naturally be shaken in some way. I wondered if I could depict this not from the Count's own perspective, but through someone else's eyes. So, who would be suitable for that role? For example, if it were the three villains, their suspicious or unpleasant gazes would create suspense, but it would end up being a negative perspective. Ultimately, I myself really like the Count, so I felt I had to write about him properly, and when I searched for someone who could share my perspective, I ended up with Albert. Albert is a boy with the kind of foolishness that comes with youth, who can brazenly say to Franz, "There's no one as cool as him." That's something that resonates with my own experiences when I was in middle school. That's also why I lowered Albert's age to around middle school. When you're in middle school, you often think, "That senpai is so cool," right? But then your friends might say, "He might be cool, but I haven't heard very good things about him." And then you rebel and say, "But that's okay!" I thought that if I could depict that aspect, it would give us Japanese people a chance to easily enter the world of this work. By choosing Albert, I was able to depict the Count himself seeing Albert as "the son of someone I hate, and nothing more than a tool to take revenge on that person, but this guy who's being deceived is like my younger self," and I thought that if I did that, I could create an interesting story that isn't straightforward. So I decided to discard everything I had built up until then and rebuild the story with Albert as the protagonist. The sense of stagnation in aristocratic society that the protagonists feel resonates even in modern times.
Until then, you had structured the story with the Count as the protagonist, right?
Yes.I 'd been working on a story with the Count as the main character for about six months now. That's right. At that point, I'd rewritten the first act about ten times, but it just didn't feel right. When I thought about how it would end, I'd think, "Hmm, the Count and Mercedes are lovey-dovey on the beach?" and I realized that was impossible. If that were the case, then why even seek revenge in the first place? The original story, as I mentioned earlier, is fundamentally a story about the Count's own morals. However, when considering how to present it as a drama to modern audiences, I was constantly worried that sticking to the original story's flow might not be easy for them to follow.
The fact that the story is told from Albert's perspective makes it easier to get into the story.. I feel that the sense of stagnation he feels, stemming from his sense of fulfillment, is very similar to the sense of stagnation prevalent in modern society.
Whether or not that was successfully projected is another matter, but that was something I consciously tried to create. I think there are kids today who, no matter what the topic, think, "I already know that from watching TV" or "I already know that from the internet." I think there's a sense of stagnation in that. So, you could say that today's kids are smart, but on the other hand, I also feel sorry for them. The same goes for Albert and his friends, and the fact that Albert, the only pure-hearted boy among them, doesn't become cynical or overly pragmatic, but instead tries his best, is something I put my own feelings into.
Many female fans seem to find that aspect of Albert "cute." Was that perspective something you were aware of from the beginning?
That's somewhat true. When it was decided that it would air late at night, the question arose, "So, who should the target audience be?" As I mentioned earlier, initially I was creating a story from a boy's perspective, a revenge tale told from the count's point of view, but I always wondered if this was something new and if people would actually watch it. With that in mind, when I was talking with the staff and producers about the target audience, the idea came up: "Could we target the F1 demographic?" The F1 demographic is a term used in television, but for example, imagine you're at work late at night and an anime is on. At first you might think, "Oh, it's just an anime..." But in industry jargon, it refers to women between the ages of 20 and 35. They come home tired, turn on the TV, and as they watch, they might think, "This is actually pretty interesting." We thought that if they could do that, then we'd win. Apparently, anime doesn't really target that demographic. So, we thought we'd take on the challenge of targeting that demographic. However, that demographic is very discerning when it comes to dramas, and they're people who spend a lot of money and time on various things in their lives. It's very difficult to get those people to spend their valuable time and money on something. But, if we could do that, we thought it would be something that not only girls but also boys would find interesting. Thinking about it that way, I started to wonder if what I had created up until then was no good, and that became one of the triggers for me to rewrite the story with Albert as the main character.
Behind the scenes stories about casting and the music
How was the casting done?
We held auditions for the roles of the Count and Albert. Regarding the Count, as soon as I heard the voice samples that each agency had prepared before the auditions, I thought, "Ah, this is the one." Voice samples always start with an introduction, and as soon as I heard the voice saying, "I'm Nakata Jouji from Osawa Agency," I thought, "That's the Count's voice!" Nakata's voice is masculine and deep, but there's something a little ephemeral about it. As far as I know, there's no one else with a voice like that. For example, the Count's lines in the first act are based on what I had imagined, but what he actually gave me was even better. As a result, my own image of the character also shifted in that direction. This kind of thing happened with the other characters as well, especially with Cavalcanti. Seki Tomokazu, who played Cavalcanti, has apparently loved "The Count of Monte Cristo" for a long time and really wanted to be in it. Of course, Seki also wanted to play the Count, so he auditioned. He was really good, but his voice was a little too young, so when I apologized to him, he said, "I'd like to appear in the show, even if it's a different role," so I asked him to play Cavalcanti. He was very happy to do it, and thanks to Mr. Seki's funny performance, Cavalcanti also became a funny character. I'm also really glad that Jun Fukuyama played Albert. If he hadn't played the role with his refined voice, Albert might have just come across as a simple fool.
Was the decision to commission Jean-Jacques Brunel to compose the music based on your personal taste?
That’s my preference. When we made the promotional video, we used a song by The Stranglers. We were only given permission on the condition that we wouldn't use the promotional video itself for commercial purposes, but I've been a fan of theirs for a long time. I like that eccentric side of them—intellectual, to put it nicely, and pathological (translator’s note: sick, disturbed), to put it less nicely. Actually, I happened to come across someone online who knew Jean-Jacques Burnel, and when I emailed them asking if they could introduce me to him, they replied that they could. I thought, "I have to go to England," so I went to England and asked, and he agreed. I was so happy.
A Wonderful Collaboration of 2D Texture and 3D Technology
From a visual standpoint, the use of 2D textures for costumes and decorations is what's attracting the most attention. Where did that technique come from?
Since the characters are nobles or their children, we knew from the beginning that we had to put some effort into their clothing. However, the trend of focusing on clothing in cell animation, as we can see from recent videograms, is simply leading to an increasing complexity. For example, a character sheet looks great on its own. Every single frill is drawn in detail, and even the tiny buttons are depicted. But the character sheet isn't directly translated into animation; many people have to draw hundreds or thousands of frames based on it. This makes it incredibly inefficient. So, I thought, why not abandon that kind of detail-driven character creation and try to focus on clothing in a different way? I thought something like a cutout animation might be interesting. I've always loved that collage-like feel. Of course, the techniques used in short films are absolutely impossible to implement on a regular TV anime schedule, but since digital tools have become so advanced, I thought, "Let's just give it a try!" So I asked a software company called Celsys (translator’s note: Clip Studio Paint company), and they said, "Let's do it!" and we were actually able to realize it in that form. The animation industry is very systematic and specialized, so normally people don't like to do things outside their area of expertise. But the biggest reason we were able to make it happen was because there were people in the company who supported my idea and even found it interesting. I had considered various options, such as stopping if we couldn't finish applying the textures within the time limit, or applying them only to certain parts, but it worked out surprisingly well, which was great.
The costume Haydée wears in the scene where the Count first visits the opera house is very eye-catching, isn't it?
That's special. It's made in 3D. The part from the neck down isn't a texture; the body is made with a frame. We called it the "grafting a tree onto a bamboo" method, but only the head is a drawing. We put a board with the drawing on it on top of the frame, so it looks quite strange from the side. We added frills around it. We wanted to combine the best of both 2D and 3D. We could have made the whole thing in 3D, but the character's face is crucial, so I really wanted to draw it in 2D. I apologized to the person who made the 3D model, saying, "I'm sorry, but I want to make the face in 2D," and I begged them to let me do it that way. The staff really enjoyed making the animation down to the smallest detail. For example, the large painting hanging in the background of the dinner scene in Act One was painted by art director Hiroshi Sasaki, but it's actually a hidden image. Since it's a scene where they're talking about love, there are pictures of lovers on the wall, but if you look closely, they're actually skulls. In the scene at the end of the meal when the Count extends his hand, that picture is placed at the edge of the frame, and the poisonous spider is positioned just right—a nice little detail.
Finally, do you have a message for our readers?
For me, this work was created with the intention of returning to my roots. By returning to my roots and depicting human drama, I was able to experience the unique feeling of "watching characters grow" that is only possible with human drama. So, if I were to depict human drama in this form again, I have many ideas about what I would do this time and that time, so please look forward to it. The manga version of "The Count of Monte Cristo" has also started. This one is planned to be a bit more of a grand drama, so please look forward to it.
Side things in that interview
(text next to Haydée)
𖧹Haydée’s dress
While gorgeous textured costumes appear in each episode, the dress worn by Haydée in Act 6 was the only one created using 3D modeling rather than textures.
𖧹Edmond Dantès & Albert
By making Albert the main character, the intention was to create an image where Albert, who is being deceived by the Count, and the young Count, when he was Edmond Dantès, overlap in terms of their personalities. (translator’s note: selfcest is real he admitted it)
𖧹Act 1
“We meet at the journey’s end” The scene where the Count and Albert and the rest (translator’s note: F Franz you’re that other guy to your creator) meet in Luna and share a meal together. Director Maeda says he was able to create the perfect "timing" in this scene.
𖧹Hidden pictures
It's displayed behind the Count when he talks about his lover during the dinner scene. If you look closely at the painting of the lovers, you'll see that the whole picture forms a skull. It was painted by art director Hiroshi Sasaki.
File. 2 Interview with creators: Suichi Kouyama
(translator’s note: he’s the second writer, he wrote the official novelization and the sequel Diplomatic Journal of Albert Herrera and oh boy if this doesn’t answer some questions about it)
Kouyama Shuichi was born in 1961. He is a novelist and critic. He became involved in animation scriptwriting after writing the novelization of Maeda's 1998 film "Blue Submarine No. 6". In "The Count of Monte Cristo", he not only wrote the script but also took on the role of series composition for the first time. His most recent work is the script for "LAST EXILE" (GONZO).
Behind the scenes stories from planning stages of Gankutsuou
How did you come to participate in this project, Mr. Kouyama?
Kouyama: In the initial planning stages, Director Maeda and screenwriter Tomohiro Yamashita were working on the ideas. It seems they had decided to adapt "The Count of Monte Cristo" into an animated science fiction work, and Director Maeda and Yamashita were refining the setting. I joined the project later, after being approached by the director.
So, the idea of adapting "The Count of Monte Cristo" into a science fiction anime had been decided even before you joined the project?
That's right. I think Director Maeda has mentioned this in various interviews, but it seems he wanted to create something like Alfred Bester's science fiction novel "Tiger! Tiger!" Originally, the director had the idea of creating a very orthodox story set in the vast expanse of outer space.
What were your responsibilities during the planning stage?
My role was to present various possibilities to the director and help him consolidate his ideas. My main job was to observe the overall flow of the project and, if the direction changed, to suggest new ideas like, "Given that direction, let's try this approach."
You mentioned that various themes were presented before arriving at the current form. Could you tell us specifically what kinds of themes were presented?
We had a lot of ideas. In the early days, there was a suggestion to make it a school story, and we seriously discussed it at first, but then it turned into a silly idea where the Count would come in as the chairman of the board. Another idea was a battle-oriented storyline centered around the armor that appears in Act 18. In fact, I even wrote a scene in Act 2 where the Count fights Luigi Vampa, using that armor.
How did the ideas ultimately come together?
At first, the focus was definitely on revenge, but as I thought about it more, I began to feel that both we, the production team, and the viewers who watch the show, are closer to the people who are being targeted for revenge than to those who seek it. As I was actually structuring the story, I repeatedly reread the original novel, "The Count of Monte Cristo," and that feeling grew stronger. It's set during the restoration of the monarchy under Louis-Philippe, but before that, there was the great era of Napoleon. However, after that, things generally became smaller and more stagnant. I felt that this atmosphere was similar to the atmosphere we are feeling right now.
Parent-child story from Albert's perspective
When structuring the story with Albert as the main character, what aspects did you pay particular attention to?
Depending on how you look at it, "The Count of Monte Cristo" can be seen as a story in which events of the parents' generation cast a shadow over the children's generation. In the original, the children are depicted as beings who enjoy the wealth that their parents obtained using dirty tricks, but only Valentine and Maximilian are favored because they are not like that. In Valentine's case, she was treated specially because she was the love interest of Edmond’s benefactor's son... But when you look at the story from the children's perspective, it just looks like ghosts from the past, who have suddenly appeared from a completely different world, are attacking them for no reason. However, the core idea is that the form of this calamity that has appeared is not just a calamity to Albert, but a very alluring form, and that is the center around which I constructed the story.
Aside from the parts where the story is told from Albert's perspective, there are several other differences from the original, such as the setting and the order in which events occur. What was the intention behind these changes?
It's not that we're intentionally changing it. Telling the story from Albert's perspective is inherently quite difficult, and it would necessitate changing everything, from the narrative style to everything else. The moment we shift to the victim's perspective, what was originally a fantasy adventure story becomes a mystery, so the story and setting inevitably change. We're not trying to be quirky by changing the original work.
The primary goal was to tell the story from Albert's perspective, and that was the central focus of building narrative?
That's right. If you make Albert the main character, the parent-child relationship inevitably becomes the central focus of the story. From Edmond Dantès' perspective, Albert is nothing more than the fruit of betrayal. In that case, he has no choice but to either spare him out of compassion or simply pluck him away. That's why in the original, Albert is only depicted as someone who is nearly killed as an act of spite towards Mercedes. However, if you look at the story from his perspective, the meaning of the events that occur in the story changes dramatically. This changes what needs to be shown, and the climactic moments in the story as a whole also change.
Conversely, weren't there also difficulties in not telling the story from the Count of Monte Cristo's perspective?
That's true. Ultimately, if I didn't depict revenge, the story would end up being incomprehensible, so I struggled with where, how, and to what extent to present Edmond Dantès's perspective. People who have read the original novel already know what the story is about, so showing it as "actually, this is what happened" wouldn't make sense…
When you were structuring the story, how did you determine the divisions between parts, such as the beginning, development, climax, and conclusion?
In terms of the narrative structure, there's first the section about "a boy who is drawn to a mysterious stranger from the outside world," then the section about "a boy who is manipulated, confused, and troubled by this man." The climax, the turning point, is the section where "the boy loses his best friend who cared for him, his status, and his family, and is thrown into the abyss of ruin." And finally, the section where "the boy, having been thrown into the depths of despair, stands on his own two feet for the first time and solves the problem." This is just my interpretation, but I see this work as a story in which Albert steals the protagonist role from the Count of Monte Cristo. If you structure the story with this interpretation, Franz's death takes on great significance. By losing the person who had been protecting him, Albert is forced to think and act for himself. And that's how he becomes the true protagonist. What struck me when I watched it was that, not just in the relationship between the two characters, but in every aspect, there's always something that transcends any interpretation. The relationship between the two characters is a very touching story, but the key point is that it's not just that simple.
In terms of the visual aspects, in the conversation scene between Albert and the Count, you can see a blush on Albert's cheeks, right?
We decided to go for a more theatrical approach in those parts. Initially, the dialogue was a bit more natural overall, but we decided to respect the atmosphere of the original work and make it more dramatic. Initially, the dialogue was a bit more natural overall, but we decided to respect the atmosphere of the original work and give it a more theatrical feel. I tried to write the conversations between Albert and his friends as naturally as possible, but I thought it would be interesting to see how the dialogue becomes more theatrical the moment the Count enters the scene.
There are a lot of lines that make you feel like you're watching a musical, aren't there?
From the planning stages, Director Maeda strongly recommended the poetry of William Blake and Byron. I think that had a strong influence on the show. As for the dialogue, I struggled with where to put the tension. Initially, I was thinking of making it a bit more laid-back. You can still see some of that in scenes like the one in the third act where everyone goes for a drive.
Favorite character scenes
Which character is your favorite?
It's amusing how much of a Château-Renault enthusiast I am. I really enjoyed writing about the driving scene I mentioned earlier. (translator’s note: so that’s why this nobody mf is shoving up every 5 pages in the journal)
It's a very futuristic world, but the cars have a classic feel, don't they?
Conversely, perhaps those low-tech aspects are what make it appealing to them. Since they are aristocrats, they probably have a sense that the lower the technology, the more luxurious it is.
For example, there are unexpectedly tech-savvy details, such as the appearance of vintage motorcycles, or the fact that Beauchamp’s camera, despite being high-performance, is large and dated?
Initially, I envisioned the story taking place in space, but ultimately, I decided to set it on Earth. I think that was a natural progression in terms of expressing worldbuilding.
Which scene is your favorite?
My favorite scene is the one between the Count and Heloise in Act Seven, "The Secret Garden." I wrote that scene in the Villefort family’s greenhouse, where the Count approaches Heloise, with the intention of making it as erotic as possible, so I was pleased to see it brought to life through that kind of direction. I also generally like the events at the villa in Auteuil. I also like the scene where Lucien Debrée and Franz access the database to investigate the mystery of the Count of Monte Cristo. Hmm, now that I think about it, every scene was created by everyone putting their heads together, so I'm attached to all of them.
The novelization is another version of Gankutsuou
Mr. Kouyama, you have written many novels. What are the differences between writing novels and collaborating with the director and other staff members to create anime?
With novels, you can meticulously craft a story and complete it as a meticulously crafted work. I like to meticulously structure the story, lay out lots of plot points, and connect them, but when you want to make each episode exciting in an anime series, that alone isn't enough to make it interesting. By creating the story collaboratively, I received unexpected ideas and the story unfolded in ways I hadn't intended, and that was really interesting. If I had written it all by myself, it might have turned out to be a very different story.(translator’s note: so that’s why journal has so many good ideas but is so ass)
The novelization is precisely that "slightly different story," isn't it?
There's a certain point to be made that it wouldn't make sense to write the exact same story, and the way novels and anime stories are constructed is completely different. Interestingly, even just considering adapting "The Count of Monte Cristo" into a visual medium, it's completely different depending on whether it's a movie or a TV series. It's not just the visual direction; depending on the creators, everything from the themes onwards can become completely different. And when you think about whether it makes sense to novelize something that has already been adapted into a visual medium, it sounds ridiculous, but if you novelize something that has already been adapted into a visual medium, it won't be the same thing. Everything becomes different. I personally think that the appeal of "The Count of Monte Cristo" lies in those kinds of discrepancies.
Will the novelization reveal mysteries that weren't explained in the anime?
There might be some differences in interpretation. But basically, I think it's best to think of them as completely different things. However, I would be happy if you could find something that makes sense to you as a conclusion. Anyway, I had a tremendous number of ideas, and I rewrote the first and second acts of the anime countless times. I thought I would use the ideas that couldn't be included in the anime in the novelization, but even then, I couldn't fit them all in... As a result, there are parts that I haven't been able to fully explain, and I think I've left some parts to your interpretation.
Finally, do you have a message for our readers?
The original "The Count of Monte Cristo" is a work composed of various ideas, so it can be interpreted in many ways depending on how you read it. Because it was serialized for a long period of time, like a long-running shonen manga, the setting has subtly changed over time, and before you know it, it has become a different story in several places. I think it is a work that has a mysterious power to make you want to reinterpret those parts in your own way and reconstruct the story as you read it. I would be happy if the anime version of "The Count of Monte Cristo" also has that kind of power. I would be happy as one of the creators if those who watch the anime Gankutsou would use their imaginations in various ways and interpret Gankutsuou in their own way.
Side things in that interview
(on right)
𖧹Albert & Franz
According to Mr. Kouyama, the relationship between Albert and Franz is one of the pillars of the work. He suggests that there is something more to their relationship than just friendship; there is a strong love between them.
(on left)
𖧹Low-tech mechanics
Renault's racing car
From a classic car collection, is a racing car that Renault drives around in.
Albert’s motorcycle
Albert's favorite vintage motorcycle. Among the aristocracy, there's a view that the more low-tech, the more luxurious.
Beauchamp’s camera
The camera that Beauchamp wears around his neck. It's thin and high-tech, but its size is quite striking.
𖧹Act Seven: "The Secret Garden"
The scene of the Count and Eloise's affair in the greenhouse was intentionally made to be as erotic as possible. The greenhouse setting was chosen specifically for this purpose. The Count whispering in Eloise's ear and her expressions are depicted in a highly sensual way.
𖧹Act Eight: "Night at Boulogne"
The scene where Albert and others search for the cursed room at the villa in Auteuil. The events that unfold in the labyrinthine mansion are a favorite. This act also presents various mysteries, including the appearance of Cavalcanti and the relationship between Villefort and Victoria.
𖧹Act Thirteen: "Haydée"
The scene where Franz and Debrée search a database to unravel the mystery of the Count of Monte Cristo. Mr. Kouyama says he likes the sci-fi elements of this scene. The cybernetic imagery that unfolds repeatedly within the programmed library is full of impact.
𖧹 Raoul de Château Renault. Mr. Kouyama says he likes Renault's enthusiastic nature. Renault, who loves mechanics, appears in the second act driving a classic racing car. He says that the scene in the show where he talks about meeting Maximilian was one of the most enjoyable part to write.
Interview with the cast
Questions, part 1:
Does the character you played resemble you? Or is there a character in the show that resembles you more?
Please tell us what you consider important, what you pay attention to, and what you find difficult when acting.
Please share any fun episodes or incidents that occurred while you were working on this film.
What is the most memorable scene in the show for you?
To Director Maeda and the production staff: Please feel free to share any messages you have here.
What is the appeal of Gankutsuou? (Please answer as "personally" and "individually" as possible.)
Finally, could you give a message to the readers of this book?
Albert de Morcerf
Jun Fukuyama
I don't think I resemble him at all, but apparently, that's how it looks to others (laughs).
It's hard to explain, but I try to have a feeling of an "open book", both physically and mentally. To put it simply, "becoming stupid" (laughs).
Fernand: "I was able to come this far because I was with you."
Mercedes: "I'm so proud of you." The two embrace.
Mercedes: "Hey, Mr. President!" ← Mr. Inoue added this ad-lib during a test run, and it got a huge laugh. (From Act 14, "A Wandering Heart")
To be honest, this is the question I find the most difficult!! This time it’s the last shot of act 18. It changes every time I'm asked, though.
The work must have been tough, and the recording started in the morning, so there wasn't much time... Let's definitely go out for drinks together sometime!
It was my source of comfort!! Oh, I misunderstood the question... Uh, well... I'd say it's the "classic"!! That's not quite right either... Ah.
I only have one thing to say! After reading this, please watch the anime "The Count of Monte Cristo" again from the beginning! There's still so much more to discover♪ Thank you very much.
The Count of Monte Cristo
Joji Nakata
We don't look alike at all. Hmmm if I had to say maybe it’s his timidity around women. Ah, Mercedes, ah Haydée!
We didn't want any boring realism, but a hollow style wouldn't resonate with viewers either. The top priority was achieving a natural, yet dynamic, demeanor.
I was happy to feel that all the cast members cherished the opportunity to be involved in this work and were highly motivated. In the second half of the story, everyone seemed to embody their characters.
In the first act, when Albert opens the door, light pours in, and suddenly outer space unfolds before his eyes. Then, the encounter with the Count… And the Pharaon takes flight; the curtain rises on everything. (And the ending was also quite exciting!)
(It really got my heart rate up!) This is truly thanks to Mr. Dumas, who shook Director Maeda, Mr. P and Mr. Jac, who approved the project, everyone who cast me, everyone who created such wonderful artwork, my fellow cast members, everyone who promoted it, and my trusted Mr. Tsuruoka... Love you!
While it depicts a futuristic, sci-fi city using advanced techniques, its essence lies in the melodrama that shifts towards the charm of its characters and its story…
Some were overwhelmed in an instant, others resisted at first but were slowly violated. Some became hooked after looking at the character designs, PVs, interviews, etc. out of curiosity, etc... Whatever the reason, all of you who, like me, have been corrupted by the Count of Monte Cristo! Come on, join me... This is inevitable. Hehehe... Ahahaha, ahahahaha...
Franz d'Épinay
Daisuke Hirakawa
I've been told I look like him... but only the hairstyle... Seriously, if I could look like such a nice guy, I'd love to!
I was always mindful of the fact that "Franz always acts with Albert's needs in mind, rather than his own." But expressing that in a way that was "true to Franz" was the most difficult part.
After dying in Act 15, I had appearances in Acts 15 and 20 as well, and various cast members would tease me, saying things like, "Oh? Is the person who died still here?" It was really fun to be on set where we could talk like that.
It's definitely Act 18. In the last shot of the A-roll, he's being slashed against a backdrop of a skull-shaped moon, and while the imagery is brutal, it's also incredibly beautiful. It left a strong impression on me.
Thank you so much for all your hard work. And I am truly grateful for the creation of this work. The wonderful recording environment I was able to experience each time was all thanks to the efforts of the staff. Thank you so much. Being involved in this work is my pride and joy!!!
Franz said, "Both feelings of love and hate both come from caring about someone." Isn't it about the intertwining and clashing of various "feelings" between people?
Gankutsuou is a work I hold dear. I'm very happy that a fan book (translator note: he means the beige production book) like this has been created for it.
After reading this book, I want to immerse myself in the world of Gankutsuou once again. I hope you all enjoy every corner of the world of Gankutsuou through this book, which is packed with the thoughts and feelings of many people!!!!
Eugénie Danglars
Chie Nakamura
I've always had a clear idea of what I wanted to do since I was a student (it wasn't voice acting at first...), and I had a "I'll go my own way!" attitude, so maybe we're similar in that respect. Even our big-sister-like personalities.
In the beginning, I was rather cold and sometimes harsh towards Albert, so I was thinking, "I need to make sure I don't come across as a mean character."
Everyone was serious during recording, and I don't think there were many incidents. The story was serious, but the atmosphere on set was friendly and fun. Thanks to the mango sweets Mai-chan brought, many of us, including myself, love mangoes, and we had a great conversation about them.
There are many things I'd like to mention, but as Eugenie, my favorite part is when she and Albert started to get closer in Act 12. Before that, they didn't really have a romantic vibe...
I'm extremely shy, so even when we met at the studio, I couldn't really have a conversation beyond a simple greeting. However, I'm truly grateful for the always-present atmosphere and environment that made voice recording so easy. I feel incredibly honored to have been a part of this wonderful project. Thank you so much!
If I were to answer seriously, I'd say the visuals are amazing, the music is cool, or the story is interesting, but to be honest, I have a weakness for "capes" (laughs). I don't know why, maybe it's because I used to like the Fiend with Twenty Faces, but I like the image of a mysterious gentleman dramatically flipping his cape or something and walking along with a tapping sound. It makes the story very exciting. Sorry, that's not much of an answer, is it?
Thank you so much! Thank you for supporting this work, not only by watching the anime but also by picking up this book. After deepening your knowledge with this book, please watch Gankutsuou again, no, many times! I hope it will always be one of your favorite works!
Fernand de Morcerf
Jūrōta Kosugi
There might be some similarities. I understand Fernand's feelings, as he lived for love and desire...
Balancing Fernand's various facets was very rewarding as a voice actor.
Nothing in particular, but the studio atmosphere was fun and great. Also, I was inspired by the serious acting of my co-stars.
The scene where he reveals his true self to Mercedes is definitely memorable. The confrontation scene with Edmond is also very impressive.
Being able to participate in such a wonderful show, both in terms of story and animation (digitalization), is truly the ultimate reward for a voice actor. Thank you very much.
A human spectacle that sharply depicts human destiny, desire, and love.
The quality of this work is absolutely outstanding. It's a work I'll never forget. I hope you all enjoy it to your heart's content.
Mercedes de Morcerf
Kikuko Inoue
Hmm... I feel like there are some similarities... or maybe not...
As a mother, wife, and woman, Mercedes has many different facets, so I hoped to be able to portray them clearly.
During the test, Mr. Kosugi, who played Fernand, ad-libbed calling Mercedes "Meru-chan!" which I found hilarious and really got to me.
I'm sorry, there were so many memorable scenes that I can't choose just one.
Director Maeda and all the staff, you were truly, truly wonderful!! Thank you for all your hard work and dedication.
An irresistible thrill.
While participating in the film, I was also a big fan of this work. Let's enjoy it again (and again!) when it comes out on DVD ♡
Gérard de Villefort
Yōsuke Akimoto
I don't think the character is similar to me, but there's no one else who could have played him. If I were to play the role, I think it had to be Villefort.
The key was how coldly I could portray him. But he also has surprisingly emotional moments, and I paid close attention to those transitions.
There was a lot of discussion about where Villefort's one-lensed glasses (glasses) were tucked in.
It's the scene where he complains to his father, Lord Noirtier, saying, "I had a tough time too."
It was a fun job. The atmosphere in the studio was fantastic. Thank you very much.
Above all, that unique visual style. I was drawn into the work from the very beginning.
Please enjoy it.
Baron Danglars
Shinpachi Tsuji
Rather than whether the character is similar to me or not, I think everyone has elements of Danglars in them. He's truly human.
Regarding Danglars' character, I agree that in a way he's very human, so I tried to pay attention to that and create contrast.
I always give my all during performances. That's my most enjoyable memory.
Perhaps it's the scene in Act 20 where Andrea's true identity is revealed.
The original work is very interesting, and it's a book I've always wanted to read, so I was happy to encounter it in this way. I was completely engrossed.
The original work is fascinating, and the clothes are flashy, especially Danglars' costume!! Humans are sad creatures, aren't they!?!?!
I'm really looking forward to the main story, and this book too!!!
Haydée
Akiko Yajima
"Do I resemble her?"... Not at all!!! Do I possess such deep love?! I'll do my best, though...
It seemed to me that her entire being relied on the Count. Although she always spoke in a gentle manner, I made sure to portray her with the understanding that she possessed a "quiet strength."
All the cast members had read the original novel (7 paperback volumes) before participating, but for some reason I had only read one children's paperback, so I felt a little embarrassed. (But it was easy to read because it had illustrations!) (^^;)
It was the scene where the Count kissed Haydée on the forehead (;_;) (sad, but happy!!)
It was a very, very difficult role for me, and there were many things I couldn't express well, so I had to ask them to re-record some parts after the voice-over... Thank you so much for putting up with me. I'm truly grateful.
The Count's presence!! And that "voice" ♡ And Albert's "cuteness," perhaps ♡
I thought there were so many different kinds of love in the world, but what is true love...? Albert taught us that, didn't he? ♡♥♡♥♡♥♡♥♡♥♡
Valentine de Villefort
Junko Miura
I don't resemble her. I wish I did (laughs).
I think her upbringing influenced her somewhat lonely personality. I tried to portray her not just as a gloomy girl, but in a way that expressed her inner feelings.
Mr. Nakata, who played Monte Cristo, always wore stylish shirts, and I was captivated by how "great" he looked (this has nothing to do with Gankutsuou).
The fact that there was a sea beneath the Monte Cristo house. I really loved that fantastical scene with Albert. The dialogue was wonderful too.
I am grateful for the wonderful experience.
"Beautiful," that's all I can say.
Please check out Gankutsuou. It's a wonderful work.
Maximilien Morrel
Tetsu Inada
We look alike. Visually.
Honestly. Innocently.
I was told about a delicious soup shop.
The confession to Valentine.
You've created an amazing work.
A human drama.
I hope you will cherish this work forever.
Peppo
Mai Nakahara
I don't think we're similar. I don't tease people I like... but even a not-so-straightforward Peppo is cute.
I think Peppo is like Pierrot. What she thinks and what she does and says don't match. (translator’s note: there’s no gender inclination in the sentence originally) It was the first time I'd worked with a character like that, so it was challenging.
Every single recording session was fun. Despite the wide age range, everyone got along well, and it was a great workplace ♡♥
I watched the entire first episode! I was stunned by the amazing visuals.
I think it's truly wonderful work. Thank you for letting me be involved in such a fantastic project!
Each character is unique, the art and music are superb, and the story is rich... I think its charm lies in the fact that anyone can enjoy it. Peppo is so cute... (laughs).
Please continue to enjoy Gankutsuou even more!!!
Special interview with Jean-Jaques Brunel
Jean-Jacques Burnel formed "The Stranglers" in 1975. Their music, which stood out even within the punk movement of the time, took the UK by storm. Currently, in addition to his band activities, he is involved in music production as a producer for bands and solo artists in various countries.
We asked Mr. Burnell, who was in charge of the opening and ending themes as well as the music played throughout the film, about this work!!!
What made you want to participate in Gankutsuou?
There are several reasons why I accepted the offer to participate in the "Count of Monte Cristo" project. First, the traditional and passionate elements of "love," "betrayal," and "revenge" are interconnected with the various characters in this work. As a musician, these elements alone allow me to feel a wide dynamic range in many directions. Moreover, director Mahiro Maeda came to London and personally consulted with me about this request. This visit was very courteous, and of course, I was deeply moved by it. I had always wanted to work on soundtracks such as film scores, so this job was a wonderful opportunity for me to fuse music with musical imagery.
What are your impressions of the original "the Count of Monte Cristo"?
The original story is well-known to anyone of my generation living in France and England. However, what I liked about this new anime adaptation is the relationship between the vengeful Count of Monte Cristo and the Mephistopheles-like (like the demonic character in Goethe's novel "Faust") creature. It reminded me that when you accept their help, you must embrace the evil energy they possess.
How did you approach composing the music?
While considering the psychology of each character as defined, we experimented with ways to emphasize the elements of each character or group of characters.
There was a "to 20th" Geass event a couple days ago, starring the voice actors of Lelouch (Jun Fukuyama), Rozé (Kouhei Amasaki) and Ash (Makoto Furukawa). I've been checking twitter comments and reports of fans who attended, and, at some point, apparently kind of out of nowhere, Rozé's voice actor asked FukuJun about his opinion on Rolo, and said that he (Amasaki) at first couldn't forgive Rolo but now wants to. FukuJun answered by first asking the audience to raise their hands if they didn't forgive Rolo, and only some people did. When he asked for those who did forgive Rolo to raise their hands, about 3/4 of the audience did, so people weren't just being shy! FukuJun then said that Daichuu kept calling him "Niisan" with a cute voice for years, so he can't help but feel a bond.
This year almost completely went by already without any new Rolo in Lost Stories (😭), but there's going to be some "if" routes (or just one? I'm not sure) next year, and the announcement of the route(s) features, among other tragedies, the scene where Rolo dies (there's also Euphy, Shirley and Lelouch) followed by the message "If you are alive, then...", which sounds a lot like we are getting a route where Rolo doesn't die?? Please please please please but don't hire the bk shirley & rolo geagene writers kthx
Also, currently people are voting for him to get a new KMF, so there's Rolo fans out there still! And I don't know much about Vtubers, but Takane Lui became an official Code Geass ambassador some months ago and, in her official introduction as such, she called herself a Lelouch and Rolo fan, and has claimed that Rolo is her favorite character. She's now going to show up in Super Robot Wars DD with a Vincent (not Rolo's Vincent, but nonetheless). Not that she has any power over what happens with the franchise, but I'm happy to have as many Rolo-supporting voices as possible!
