Mugendai Mewtype Anime Adaptation confirmed & a new phase begins! The Infinite Possibilities and Gratitude embodied in their 3rd Single “Midnight Amusement Park” and New Track “Tuning”
Sorry. This is long. Sorry if you are on the website.
Originally posted on March 4th, 2026, on WordPress.
Mugendai Mewtype (commonly referred to as Yumemita) is a band born from the BanG Dream! franchise, that transcends dreams (virtual) and reality (real). Initially starting with their VTuber activities on YouTube, they began performing live concerts, starting with their 1st Live (Mugendai Mewtype 1st LIVE “Metamorphose”) held in August 2024, gaining attention as a band with a new style.
At the largest-scale solo live performance to date, the 4th LIVE “Unlock the Future”, held on September 7th at the TACHIKAWA STAGE GARDEN in Tokyo, the members behind the virtual characters unveiled their faces. Furthermore, they announced several upcoming projects, including the announcement of the Anime ‘BanG Dream! Yume ∞ Mita’, set to air in 2026. With the new projects on the way, what do the members think? We take a closer look at Yumemita’s infinite dreams through the thoughts they put into their just-released 3rd single ‘真夜中遊園地’ (Mayonaka Yuenchi, Midnight Amusement Park) and their new song ‘Tuning,’ which was performed at their 4th LIVE!
Vanguard love explodes!? Yumemita’s first anime tie-in song.
You’ve all been finally allowed to show your faces in the media. You’ve always had your faces uncovered during live concerts, but have your mindset or feelings changed at all?
Ritsu Minetsuki: Having my face appear in articles and photos for the first time makes me feel both excited and a little nervous. But I’m gradually getting used to having my photo taken, and everyone else is getting better at making different expressions, so even though I’m nervous, I’m mostly looking forward to it.
Miyako Fuji: Yumemita has always engaged in activities that are set in both the virtual and real worlds, so for me, my mindset hasn’t changed much. While I do feel the scope of our activities is expanding, with photos being released and Blu-rays becoming available, it doesn’t mean that anything has fundamentally changed. I’ve always been Miyako Fuji, and I always will be.
And for the rest of you, which category do you fall into? Those whose mindsets have changed, or those whose mindsets remain the same?
Arale Nakamachi: Yeah! I suppose I’m more of a change-oriented person. But like Miyako said, I feel nervous about all the possibilities opening up. It’s a bit like, “Right, you can watch us now! Boom!” So I feel that the nervousness comes with the change of being seen now.
Yuno Sengoku: I don’t think much will change now that people know Yumemita, but I’ve never really liked having my photo taken…
Ritsu/Arale: I understand!
Yuno Sengoku: The idea that a single moment captured could spread across the world still makes me nervous, but I feel very fortunate to receive so many interviews and photo opportunities, so I’d like to get used to it. Also, getting my makeup done for a shoot helps me realise my good points, so I feel like I can approach it positively.
Nonoka Miyanaga: My mindset hasn’t changed much, but I do think it would be fun to learn how to use my facial expressions better. I believe smiles and other expressions can convey energy and power. After all, I’m quite the lively character!
Today’s photoshoot went really well. Now then, please tell us about your third single, ‘真夜中遊園地’ (Mayonaka Yuenchi, Midnight Amusement Park), which is the weekly ending theme song for the TV anime ‘Cardfight!! Vanguard Divinez Deluxe Final Round’. Given it was your first anime tie-in, you must have been absolutely delighted.
Nonoka Miyanaga: Of course! But I think it would be best for Yuno to speak about this…
Come to think of it, Yuno is quite the fan of Vanguard, going as far as to open packs and play the game on stream.
Yuno Sengoku: Yes. I absolutely adore Vanguard and have always enjoyed it as a player myself. So seeing it played in the ending of an anime I’ve been watching all this time makes me incredibly happy as a fan, too. It feels like such a dream that hasn’t officially sunk in yet. Plus, ‘Midnight Amusement Park’ is a song we’ve put a lot into during countless band rehearsals, so right now I’m awaiting the broadcast with enormous excitement. (Note: The interview was conducted before the broadcast happened.)
Continuing from that, I’d like to ask: are there any aspects of this song where you can feel it’s from Vanguard?
Yuno Sengoku: The anime currently airing is part of the ‘D Series’. The very first location where the characters gathered in the series was an abandoned amusement park. Gathering there to play Vanguard together is the origin of this series. So when I learnt that the title was ‘Midnight Amusement Park’, I felt both surprised and emotional and thought, “Ah, that’s the amusement park, so that’s where it’s set.”
Arale Nakamachi: Everyone except Yuno is looking rather surprised (laughs).
Yuno Sengoku: Additionally, while this song has the classic dreamy/Yumemita 1 feel to it, the lyrics also contain quite a few words that will make anime fans go, “Is this about that?” In particular, “Jailbreak” remains the same. I haven’t watched the anime yet, but I can already guess it’s going to be packed with elements from that character’s episode.
As expected, Yuno’s passion for Vanguard is unstoppable.
Ritsu Minetsuki: She’s reliable!
Yuno Sengoku: Ask me anything about Vanguard.
For everyone else, what were some of the points you felt about the anime’s ending?
Miyako Fuji: Generally, anime ending songs tend to be a bit more sombre than the openings, with a sense of ‘conclusion’. ‘Midnight Amusement Park’ is a song that absolutely gets the crowd excited at Yumemita live shows, but the chorus melody also carries a sense of sadness. I think the fact that it’s set at an amusement park at night instead of during the day makes it feel like an ending, too.
Nonoka Miyanaga: I understand! It starts off catchy and rhythmic, but the chorus takes on an emotional feel. It builds up coolly and powerfully, yet carries a sense of melancholy too.
Ritsu Minetsuki: Also, this is off topic, but during her first livestream, Arale mentioned she wanted to sing an anime theme song, and I’m absolutely delighted that her dream came true.
Arale Nakamachi: We live in such an internet-driven society now, but I’ve always wanted to be on TV broadcasting. I’m really happy to have been given such a huge opportunity, and I’m excited for it to air (laughs). And speaking of a behind-the-scenes story, this song (Midnight Amusement Park) was actually a contender to be our debut single 2. I’m really happy to be able to deliver such a memorable melody through this big opportunity.
So it’s a song that’s been around for that long? How much has it been updated since then?
Arale Nakamachi: The lyrics have been rewritten to fit the new worldview and current state of Yumemita, but the melody remains largely unchanged. Regarding the lyrics, the chorus line “Jailbreak to the Midnight Amusement Park” conveys the sense of, “Let’s escape to the amusement park!” But in the bridge part, it becomes “Welcome to the Midnight Amusement Park”, making me feel that perhaps this is the place we were meant to return to after all. We want to break free and become new versions of ourselves, yet this warm place is always there for us to return to. That’s why we can go into the unknown. I hope you can feel that warmth too.
Nonoka Miyanaga: That’s such a lovely story. It’s making me cry…
Everyone: She’s crying! (laughs)
Nonoka, did you find parts of this song that you could really connect with emotionally?
Ritsu Minetsuki: No, Nonoka is simply a crybaby (laughs).
Arale Nakamachi: Nonoka is very sensitive.
Nonoka Miyanaga: The synergy with the music really got to me.
This song was originally meant to be Yumemita’s debut song. Regarding its dreamlike quality, where do you feel like it comes through?
Yuno Sengoku: Isn’t it really more like, “What’s wrong with being in the shade!?”
Nonoka Miyanaga: The lyrics of “Mugen My World (夢現妄想世界, My Infinite World)“, which became our actual debut song, have this gloomy vibe to it, like feeling miserable because everyone around you is sparkling and radiant. After Mugen My World, there weren’t many songs quite like that.
Arale Nakamachi: Indeed! In that sense, it might be a song that marks a return to the basics.
In other words, does that mean the sentiment of “What’s wrong with being in the shade!” lies at the origins of Yumemita?
Arale Nakamachi: Well, yes. I don’t think any of us are particularly extroverted types. But I suppose there must be a way for us introverts to fight our own battles, or rather, to survive? “Mugen My World” felt like a world of delusion, or a worldview of retreating into a dream-like space. But with “Midnight Amusement Park”, I felt a strength emerging, a sense of having grown more resilient through our activities, embracing it fully, and stepping into the real world rather than staying in a dream. The music style reflects that, and we’ve been improving our skills too. I think the timing was perfect for “Midnight Amusement Park”.
I heard that band rehearsals for “Midnight Amusement Park” have already started. Are there any particular things regarding the performance or sound you’d like listeners to pay attention to?
Miyako Fuji: In terms of performance, I play the keyboard standing up for “Mugen My World”, but for “Midnight Amusement Park”, I sit down to play. The difficulty level has also increased; previous songs mostly have the left hand playing one note, but this song features melodies that require more movement. Though the song shares similarities with “Mugen My World”, I can tell that it’s two years’ worth of progress.
Nonoka Miyanaga: I’m just having so much fun! “Midnight Amusement Park” is just so much fun to play because the arrangement and rhythm keep changing all the time. Playing it makes me feel like, “Wow, I’m actually pretty good on guitar!” It’s just amazing.
Arale Nakamachi: It’s a super catchy tune, isn’t it? And unusually for a Yumemita song, it has four choruses. What’s more, that chorus has this whirlwind, merry-go-round-like feel to it, so I reckon it’d be an absolute blast to play live. Looking forward to it, aren’t we?
Everyone: Looking forward to it!
It looks like you’ll be adding another powerful song to your live performances. Also, something I’ve personally been wondering about, there’s a cry-like sound in the second verse, right?
Miyako Fuji: Oh, that was me. I often make that sort of noise during livestreams, so the staff asked me to “give it a try” during recording as background noise. Nonoka also added background noise in her part afterwards, too.
Nonoka Miyanaga: Right. I added a “Clang!” sound effect in my part.
Ritsu Minetsuki: On my first listen, I thought I’d misheard. There was this odd noise, and I went, “What’s that?” only to realise it was Miyako crying (laughs).
Yuno Sengoku: It’s quite a common dream, isn’t it? When I listened to the final recording, there were voices I didn’t recognise at all, and I was like, “What on earth was that?”
Nonoka Miyanaga: It’s often a shock when you realise the sound you recorded on a whim, saying “Right then, let’s give it a go,” actually made it in.
A song written and composed by Arale Nakamachi that captures her own growth and change.
Next, let’s talk about the coupling tracks. First, “Gradient” was first performed at the Tokyo show of the 3rd LIVE “Fleeting Moment”. Not only did Arale Nakamachi write the lyrics, but she also took on the challenge of composing it along with Horie Shota. She also previously co-wrote the lyrics for “Kohaku” with Horie Shota. What was the process behind creating this song?
Arale Nakamachi: The most significant part of Yumemita is that it grows alongside everyone, but I felt that repeating the same ideas over and over again was a bad idea, so I introduced a challenging spirit, or rather, a challenging load… Oh dear, that ended up being some kind of pump-up analogy.
Yuno Sengoku: Since when did you become such a muscle-bound character?
We’ll hear plenty about weight training in the next song.
Arale Nakamachi: Anyway, having written the lyrics for Kohaku, I decided to try my hand at composing this time! When I was asked to compose the music, I felt anxious and nervous, but my desire to give it a go was stronger, so I took on the challenge.
How did you go with the production?
Arale Nakamachi: As I can play the guitar, I first roughly decided on the chord progression for the type of atmosphere I wanted for the song to have, then wrote the melody. Using that as the base, I refined it while talking with Horie Shota, and then added the lyrics.
At the time of composition, did you have a clear image of what you wanted to express through this song?
Arale Nakamachi: Yes. Initially, I set the BPM to 120 to make it feel close to listeners’ daily lives, aiming for a tempo close to a walking pace. The core theme was “to make people feel warm inside”. That stems from my own experience with Yumemita, where I felt my own emotions rise through various experiences, gaining courage and warmth myself. Now, I wanted to pass on that feeling to everyone. Putting it into lyrics was incredibly challenging.
What do the other members think of the song?
Nonoka Miyanaga: I absolutely adore the lyrics that Arale writes. She’s the type who really analyses her own feelings and emotions, so when I read her lyrics, it feels like I’m looking into her heart. “Gradient” felt like seeing the real Arale’s feelings, and it left me feeling incredibly warm inside. Arale has her negative feelings, too, but she has such a strong drive to use them as fuel to push forward. I think this song captures that perfectly.
Miyako Fuji: I thought it was very Arale-like, too. I felt the same way about “Kohaku”; Arale’s lyrics always have a specific audience she wants to reach. I don’t really have that kind of perspective myself, so that worldview feels fresh to me. When I first saw the lyrics for “Gradient”, I actually ended up crying a little.
Arale Nakamachi: Thank you so much!
Miyako Fuji: Whilst learning about how Arale spends her days and interacts with others, I sensed she was someone who observes others very keenly. Through her lyrics, I became even more convinced of that. I draw manga myself, and I think self-disclosure is the hardest part of any creative process. So, to achieve this level of self-disclosure in her first-ever composition is truly impressive. I suppose she really is a talented girl at expressing herself, including through songs.
Arale Nakamachi: Somehow, I’m feeling incredibly embarrassed now.
Ritsu Minetsuki: I’m watching her and thinking how red her face was turning (laughs). I, too, feel genuinely warmed by it, and I think it’s such a lovely song that I find myself doubting that it’s her first time composing. The chorus is sung by all of us, and we recorded it with the feeling of “We’re supporting you, Arale…!” I believe it’s a song where Arale and we, Yumemita, become one.
Yuno Sengoku: While “Kohaku” was refreshing and had a sense of speed, “Gradient” was more subdued. Having gone through “Kohaku”, I feel like Arale really dug deeper into the feelings she wanted to convey. I really felt that the composition conveyed Arale’s feelings more effectively.
Nonoka Miyanaga: Come to think of it, I interpret “Kohaku” as having quite an introspective feel to it, with lyrics like “The outside world might see me this way, but this is how I am”. Where “Gradient” strikes me as having lyrics that speak outwards, more directed at the outside world.
Miyako Fuji: It feels like we’re making more of an effort to meet closer than we did with “Kohaku”, doesn’t it?
Nonoka Miyanaga: Yes, it feels like a dialogue with the outside world. I think that is the unique warmth of “Gradient”.
I can certainly feel that change in myself. Previously, when I spoke with Arale about “Kohaku”, she told me that “I’m the type who enjoys solitude”. Yet, “Gradient” gives off the impression of being a song that opens up to someone other than herself. How does Arale actually feel about that?
Arale Nakamachi: Looking back on my life so far, I realise that when I say “bye-bye”, I’ve maintained the feeling of meaning that I’d never see that person again. So, fundamentally, I spend a lot of time questioning myself internally, but within Yumemita, the members are always by my side, and I’ve started to properly look into my relationships with others and truly see them. That sense of distance, the warmth of others’ presence, and having opportunities to connect with our supportive Mu-Typers (The fan name for Yumemita fans) makes me feel emotional… I wanted to create a song that took those aspects into consideration, but I didn’t really think that it would be a song that resonates with so many people.
Nonoka Miyanaga: Arale herself has grown over the past year or so, so I’m sure her way of thinking has changed, too. But I don’t think she realised just how much she had truly changed.
Do you all feel like Arale has changed or grown while you’ve been by her side?
Ritsu Minetsuki: Yes. Well, it’s something all the members feel, but we’ve all become incredibly strong… including our muscles.
Arale Nakamachi: No, no, we haven’t talked about that song yet.
Yuno Sengoku: Could it be that the sheer number of live shows we’ve done had an impact? After all, it’s only been a year since our first live performance, and during that time we’ve been able to do so many shows. Each time, I think all the members truly realised that without all the people coming to see us, we simply couldn’t perform.
Incidentally, “Gradient” is a word that means “inclination or slope” in Japanese. What sentiment did you wish to convey with this title?
Arale Nakamachi: Fundamentally, I want people to listen to this song and feel affirmed in themselves. Just because someone affirms you doesn’t mean you can affirm yourself, does it? No matter how much you get affirmed, if you don’t affirm yourself, it probably won’t mean much. Because that’s how it was for me. Comparing myself to others was what made me feel so negative, but I believe everyone should feel entitled to feel confident in themselves. Just as an illustration wouldn’t hold together if one layer were missing from it, I feel this world exists because every single person’s worlds and feelings overlap. That’s why this song title just felt right, and why I named it that.
Train yourself! The second Miyako-themed song combines passion and fun.
Next up, the long-awaited workout song, “LET’S Achi-achi Training!” (LET’Sあちあちトレーニング！)
Miyako Fuji: After such a lovely story (laughs).
Arale Nakamachi: Afterall, let’s tackle the physical!
This song is the second character-themed song for Miyako. While the previous song, Genkai Genjitsu Survive Tenshi (Limit Reality Survive Angel, 限界現実サバイブ天使), has grown into a song that gets the crowd exploding with energy at live shows, this song suddenly kicks off with boot camp… what on earth is this about?
Miyako Fuji: I don’t really get that either (laughs). Just like with Genkai Genjitsu Survive Tenshi, this song was created after the writers spoke directly with me. Content-wise, it’s a follow-up of Genkai Genjitsu, but it’s more of a song about battling with oneself. Given that I’m a manga artist, Genkai Genjitsu incorporated many words and expressions I felt would resonate with people who do creative work online. My sense is that it’s a song aimed at creators who feel like outsiders. This time, however, “Let’s Achi-achi Training!” is far too specific to manga artists, as the lyrics immediately say “Health Manga Artist Striving Onwards!”, so I suspect it probably won’t resonate with many people.
So you weren’t seeking sympathy from the start.
Miyako Fuji: Yes. I think it’s a song that truly reflects who I am, as I’ve completely let go now.
Nonoka Miyanaga: Everyone feels that way. Honestly, the only person that comes to mind when you said “Health Manga Artist Striving Onwards!” is Miyako.
Even back in the days of “Genkai Genjitsu Survive Tenshi”, there was this whole worldview centred on sheer determination, wasn’t there?
Miyako Fuji: “Genkai Genjitsu” is a song about training your body and mind and working hard to improve yourself, which was created after thinking about how to persevere in a harsh reality. Those who create things often find that even when they believe in their own work, society fails to recognise its value. Yet, if one wishes to keep expressing themselves, there’s no other way but to keep persisting in creating their absolute best work. “Let’s Achi-achi Training!” is much the same; what it’s singing about is essentially unchanged.
Arale Nakamachi: The difference between Genkai Genjitsu and Let’s Achi-achi Training! is that the former lets you escape reality, and the latter makes you feel this super intense passion, like, “Nah, I’m going to really take it in, reality and all, and turn it into my own power!” It’s all about confronting reality, or rather, absorbing reality itself! That’s the vibe of this song.
Miyako Fuji: It’s true. I’m not actually fighting reality. I think “reality = the world = others”, but rather than comparing myself to others, I’m striving to become my best self! That’s the essence of it.
Nonoka Miyanaga: Brilliant! A proper samurai.
Unlike Genkai Genjitsu, Miyako actually cowrote the lyrics for Let’s Achi-achi Training!
Miyako Fuji: I was particularly fixated on the interpretation of effort, so I rather interfered a lot (laughs). Hearing what I’ve said so far, you might think, “Effort is wonderful!” or “Effort is justice itself!” But that’s not quite right. For me, effort is solely for my own confidence. It’s a means to self-realisation, and the notion that “effort is wonderful” comes from others’ evaluations, so that’s entirely irrelevant to me.
Nonoka Miyanaga: Is it working hard for the sake of trusting in yourself?
Miyako Fuji: Yes, the idea of striving to gain recognition from others isn’t my way of thinking; ultimately, it’s a battle with myself. It’s about reaffirming my own sake, without relying on holding hands with others.
Yuno Sengoku: But in this song, after all that self-improvement, I’m suddenly invited to join a workout. “Well, then, everyone, let’s get started,” and off we go.
Nonoka Miyanaga: Listening to this song makes me think that battling with oneself is rather cool, and it makes me develop that kind of value within myself. It’s very much a song for myself, but in terms of its influence, there’s this aspect where others get swept up in it without asking.
Ritsu Minetsuki: I’ve been influenced by this song too. I’ve started doing weight training, which I used to absolutely hate, tried going to a personal gym, and even downloaded a health management app.
The composition’s rapid shifts are quite interesting, aren’t they?
Miyako Fuji: I’m not naturally a very positive person, but that’s precisely why I love songs that lift up my spirits when I listen to them. So, I wanted to convey that I’d appreciate it if you could create music that makes me feel motivated to think, “Right, let’s get on with it!” while also having a touch of fun.
So that’s why it became a boot camp suddenly halfway through the song.
Miyako Fuji: Incidentally, the boot camp will commence at the live show too (laughs). I’ll be the instructor, and I’ll have all the members participate. By getting everyone involved, including the audience, I’ll convey the philosophy that “one must train!” I’ll be lifting a barbell marked 100kg, so everyone, join in!
Nonoka Miyanaga: It’s a Yumemita-kg, you know.
A new song titled “Tuning”, created by the members of Yumemita.
Yuno Sengoku: Actually, this song has been in production even before the 1st LIVE. It wasn’t commissioned or anything; it all started when I was chatting with Arale about music production, and I just sent her a melody on Discord saying, “Actually, I made a song too.” Little did I know that it would become the song realised for the 4th LIVE. I thought, “Oh dear, this has turned into quite something”.
What was your initial concept when composing the piece?
Yuno Sengoku: Within me, the theme of “sounds that change the world” was fundamental. Back then, it was before our first live show, so I’d only ever interacted with fans online. But as our various activities were beginning, and Yumemita’s shape was changing, I was still holding onto the Yumemita that was at that point. Driven by a desire to not forget how I felt, I created a song as a tuning exercise to return to our roots. As our world changes again dramatically from here on, we’ll play all sorts of music, but I wanted to write a song for Yumemita that no one else could interfere with, one that would let us recall those feelings whenever we heard it. Initially, Arale was going to write all the lyrics, but I was super stubborn because it was such a strong song.
Arale Nakamachi: The process was that the melody was completed first, and then Horie Shota worked on the arrangement, bringing the overall atmosphere together. It was during this stage that we (Yuno/Arale) decided to write the lyrics together. At the start, we wrote the lyrics independently, following our own inspiration without interfering with each other. So, I hadn’t specifically asked about the feelings Yuno mentioned wanting to put into the song. However, I had vaguely heard about the idea of making it a Yumemita-like song, so I thought, “Right, I’ll write the lyrics about what I feel like when I think of Yumemita, too.” Then, during the meeting, whilst learning lyric techniques from Horie Shota, we combined what we had each written.
What did you feel towards Yumemita at the time?
Arale Nakamachi: My strongest feelings towards Yumemita were, without a doubt, immense gratitude. The lyrics for Tuning start with “Hey, how do I say thank you?” I wondered where this sense of gratitude comes from, and how I couldn’t quite put my feelings of thanks for all sorts of things into words. So, I just wrote it all down honestly, without trying to make much sense of it. But every time I play this song, I hope it becomes a way to reconfirm each other’s feelings and gratitude. That’s why when I heard the title “Tuning”, I thought it was perfect.
Yuno Sengoku: Initially, I thought it was important not to forget our roots emotionally, hence the title ‘Tuning’. But upon further reflection, I also feel it would be wonderful if all members of Yumemita could embrace that spirit of tuning at this very moment, when we’re growing the most. I believe we’ll continue to change, both now and in the future, but no matter the stage, this remains ‘a song for Yumemita’. So each time we play it, I hope we can rediscover something new and cherish it.
Arale Nakamachi: I don’t think there’s any particular correctness that Yumemita has when compared to the world. When tuning, I think the number of hertz is fixed in place, but I hope we can tune by layering the feelings we ourselves find good at each moment.
The song features a signature uplifting sound for Yumemita, blending the band’s sounds with digital beats, and it’s also great that it develops into a holy song with harmony at the centre.
Yuno Sengoku: This song features Yumemita’s first five-part harmony, and the part I wrote that got used exactly how it was, with no alterations to the melody. While Yumemita’s songs are usually crafted to get everyone hyped up, this section was sung purely for the sake of Yumemita, completely inward-facing. I’m looking forward to seeing how fans have new ways to enjoy Yumemita at the live shows.
I understand that you arranged the harmony vocals for the cover of “Georgette Me, Georgette You” (Ave Mujica) that you performed at prior live shows.
Yuno Sengoku: Yes. I believe I understand the members’ vocal qualities and where their singing shines the most, so if it’s an arrangement that makes use of the members’ voices, I absolutely think I’d be the best in the world at it (laughs).
Arale Nakamachi: But the tuning is rather high, right? (laughs) I bet Yuno must be looking at my future self, thinking, “You’ll be able to handle this!” and building on that within the mind.
Yuno Sengoku: For the D-melody line, “See, it’s like a dream, isn’t it?”, I wrote it imagining the five of us talking face-to-face. I pictured how Arale would look when speaking and what her voice tone would be like before setting the key. At times like that, I always pictured Arale in the centre… Somehow, I suddenly feel embarrassed and can’t look at Arale.
That’s rather emotional. You filmed the animated music video for “Tuning” yourselves using motion capture. How did that go?
Ritsu Minetsuki: Each character had their own solo scene, but it perfectly mirrored everyone else’s usual movements, so I was genuinely moved to feel that the virtual and real words completely linked up here.
Yuno Sengoku: You mean the tuning of the virtual and real worlds? (laughs). I absolutely adore the bit in the final chorus where everyone’s on stage and Nonoka’s just bouncing up and down the whole time, completely out of sync with the rhythm.
Ritsu Minetsuki: It’s just like Nonoka at a real-life show, isn’t it? (laughs)
Nonoka Miyanaga: During the D-melody section, I was initially playing with my legs spread apart when the director said, “Try making it a bit cuter.” I thought, “I want to do that!” and gave it a go in the next shot. The result ended up being used. Officially, it was supposed to be a gag scene. I was taking it seriously, though.
Arale Nakamachi: The way we moved was directly captured on screen, so it was a fascinating opportunity to learn how to move effectively for live performances. It’s rare to see yourself so objectively, and even rarer to focus solely on movement, so it was a valuable learning experience for me. This is something only a band bridging the real and virtual worlds could achieve, so I’m truly massively grateful.
In a way, this means your 3D models are now complete, which further expands the possibilities for future activities.
Ritsu Minetsuki: Does that mean we can do virtual live shows too?
Nonoka Miyanaga: The only way to do that is to earn money. Let’s earn money!
TV anime adaptation, 1st album, journey to conquer all 47 prefectures, towards infinite dreams.
The 4th LIVE featured numerous announcements regarding Yumemita’s future. Among these, the TV anime adaptation stands as a particularly significant topic. How do you all feel about this?
Arale Nakamachi: Above all else, it was immense gratitude! When I first heard the news, I felt a jumble of emotions: anxiety, fear, excitement and joy. But what stood out most to me was the realisation that if people were placing such high hopes in me, I absolutely had to give it my all. I distinctly remember feeling such a surge of determination.
Nonoka Miyanaga: I was so keen to become a voice actor that I auditioned for Yumemita, and I remember that thrilling feeling of, “Wait, I get to do Anime?” It was truly something I’d dreamt about so much that it felt like a dream come true; I couldn’t quite believe it was real. But seeing the progress on things like the Tuning MV and the Anime production, my heart was racing… I’m just truly over the moon!
Arale Nakamachi: We all dreamed of becoming voice actors, didn’t we?
Ritsu Minetsuki: Like everyone else, I had the goal of becoming a voice actor and getting involved in anime. But I never imagined that Yumemita would be adapted into an anime as the main project. When I heard the news, I pinched myself once, thinking, “Is this a dream?”
Nonoka Miyanaga: That’s absolutely a lie. It’s just too funny, though (laugh).
Ritsu Minetsuki: No, no, when I was told in the rehearsal studio that Yumemita would become an anime, I pinched myself. I tried my best to keep a straight face, but it really hurt.
Yuno Sengoku: I’m here because I wanted to be a voice actor too, so I felt happy, but when I heard about the anime adaptation, I could see so many possibilities beyond that. Thoughts like, “If it gets animated, maybe this could happen too?”, it was the first time I felt like I could see beyond the dream itself. Before that, I’d always focused on the immediate tasks at hand. But after hearing about the anime adaptation, I started looking further ahead in my work. Granted, the anime isn’t until 2026 3, so it’s still a way off, but being able to keep thinking about what lies beyond is such a happy thing. And being able to expand my dreams so much is truly wonderful. Because the dreams of Yumemita are infinite.
Miyako Fuji: However, the anime adaptation of Yumemita was only made possible thanks to the groundwork laid by our seniors from Bandori! and the support of our fans. To be honest, it wasn’t something we achieved through our own merits. As someone who also works as a manga artist, I know firsthand how incredibly difficult it is to grasp something through one’s own efforts. This current environment is truly not something to be taken for granted. I hope to work hard so that everyone feels it was the right decision to entrust us with this project.
There were various other plans announced, but finally, please tell us what you’re looking forward to in your future activities and what you hope fans will anticipate.
Yuno Sengoku: I’m excited about the release of our first album, “Progress Sign”. It’s deeply moving that songs reflecting the richer content of our activities since the first live performance have been tightly compiled into one album, and that we’ve accumulated enough tracks to release an album. Each song comes with its own memories, so I think it will be an album that fans can listen to while looking back together with me. I’m really looking forward to its release.
Nonoka Miyanaga: I’m also looking forward to the release of the album. The title “Progress Sign” carries the meaning of “predicting the future from past trajectories”. Rather than dwelling on the past, it’s about projecting a future that expands even further from there, I think that fits Yumemita perfectly and makes for a wonderful name. Yumemita’s environment lets us try absolutely anything; if I say “I want to do this!”, they’ll say “Go for it!” and really encourage growth. A year ago, I never imagined things would turn out like this. So, I want to keep challenging myself in all sorts of ways and keep growing, aiming to reach a point where, another year from now, I’ll think, “I never could have imagined I could grow this much.”
Ritsu Minetsuki: I’m really looking forward to the Blu-ray “Yumemita’s Journey”. I’m sure the footage from the 1st LIVE will show us in our fresh-faced early days, and, apparently, the clip where I messed up getting onto the platform during “Alien Alien” is included too (laughs). Also, my headbanging during “Empty Puppet” 4 seems a bit unusual, and I got advice from the people around me saying, “You’re putting your all into this, so let’s embrace that as your unique style.” That distinctive headbanging is included, too, so it’s definitely packed with highlights. I’m absolutely thrilled that these past live performances won’t just remain in my memory, but will be something tangible I can hold in my hands.
Miyako Fuji: Our journey to conquer all 47 prefectures involves visiting various locations in preparation for our anime adaptation. As our live performances increase, we believe this will create more opportunities for many people to discover us. Up until now, we’ve focused on delivering lively, enjoyable live shows. But to make that even stronger, we need to further hone our musical skills. We want our instrumental abilities to be recognised as worthy of a band, and as we enter our second year, we hope you’ll keep your expectations high for us. This is a pledge we make to ourselves! (laughs).
Arale Nakamachi: What I’m particularly looking forward to is absolutely everything! The TV anime adaptation being greenlit, the 47 prefectures tour, our 1st album release, the Blu-ray launch, and Yumemita manifesting from virtual to real (our complete form)… Just this sheer volume alone makes me grateful for everyone’s anticipation. I’m sure we’ll be running flat out from here on, hurtling through this dizzying present, but even so, I want us to keep looking ahead and upwards. I’m sure we’ll reveal many different faces and sides of Yumemita, but since we’ve built the core foundation through our activities so far, I’m confident we’ll be fine. I want us to be a band that always keeps looking ahead. No, not just the band, I want you to expect everything from us! I’m sure we’ll redefine what the word ‘band’ even means!
