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Interview of Death Parade Staff - Key Animators
The Appeal of Key Animation and the Joy of Animation Supervision Animator Roundtable Discussion
Shōsuke Ishibashi / 石橋 翔祐 [Key Animator] Takashi Kojima / 小島 崇史 [Key Animator] Ryōta Azuma / 東 亮太 [Animation Director / Key Animator] Izumi Murakami / 村上 泉 [Prop Design / Key Animator] — Please tell us about a memorable scene from "Death Parade" that you participated in
Azuma: I have mainly worked on PD Takuya's works, which is how I got involved in Death Parade. I was given the opportunity to be the animation director for episode six, which was a very unique episode. To be honest, I didn't have much experience as an animation director, so key cuts were handled by Kojima-san, Ishibashi-san, Murakami-san, and other skilled animators and artists, who made the important scenes more appealing. Especially Ishibashi-san. His cuts were the first to get delivered, and they had an enormous number of keyframes where Mayu was moving ecstatically with very detailed acting. It was completely different from the keyframes I usually draw, so I was shocked to see how he handled it. It had a positive influence on me. Murakami: I think Ishibashi-san created Mayu's character. Ishibashi: No, that's not it. Since I participated in episode six first, Mayu was the first character I animated. I was like, "Huh? Decim hasn’t shown up yet," (laughs). I worked on episode 4 afterwards. Murakami: When I joined, Ishibashi-san's rough animation was already complete, so I watched the footage and thought, "Mayu is a girl who moves like this," and I understood what to do. Also, Episode Director Shishido was the type to entrust a lot to the animators. Kojima: Yes, Shishido [Jun]-san's storyboards are very easy to visualize in motion. Speaking of memorable things, in Death Parade, there were many scenes where the space was constructed in 3D, right? Ishibashi: Yeah, that's right. The first scene I worked on was in front of the bar counter in Viginti in episode six. It was challenging because it was not originally constructed in 3D. But then when I started working on other episodes, I realized that this [3D layout] was easy. Kojima: Working with 3D layouts means you don't have to draw backgrounds [laughs], which is convenient, but I also worried that neglecting to draw them might make my skills in that area rusty, so I had some doubts about whether it was the right approach. Ishibashi: I understand that. But drawing so many kokeshi dolls was tough... Murakami: Oh, I'm sorry. It's my fault that there were so many kokeshi dolls. When I was asked by Tachikawa-san (series composer and director) to design a Japanese-style bar, I thought it would be nice to have lots of kokeshi dolls lined up like bottles of alcohol, so I drew the image board with that in mind...
— PD Takuya and Kurita-san mentioned that Kojima-san broadened the range of character acting in Death Parade.
Kojima: Is that so? That's great to hear. In the first episode we worked on around 55 cuts, and during the meeting, either Director Tachikawa or Director Shishido-san requested that I present the acting with all the intensity of someone emotionally breaking down in tears at a press conference. So, I watched some videos for reference and drew accordingly. When it came to the ninth episode, I was initially consulted about the air hockey scen, but wanting to try something new, I asked to work on the scene where Shimada's sister is assaulted instead. Ishibashi: I thought you were definitely going to choose hockey, so I was like, "Oh, this is it?” (laughs). The cut with the light glinting on the knife, the acting was so skillful there that we left it untouched and just let it run as it was. Kojima: (laughs) Well, I can't help but feel like I've been doing nothing but pitiful scenes most of the time. Also, the skating scene in episode eleven was very difficult. Ishibashi: That scene was mainly handled by Murakami-san, right? I also participated a bit, like drawing the childhood skating scenes. Kojima: I was allowed to draw the start of the skating scene. I did about 4 cuts in that area. Murakami: As for me…I am filled with a feeling of wanting to fix it… Ishibashi: No, you did really well. You had quite a number of cuts, right?Murakami: The number of cuts was around twelve. With everyone's help, we managed to complete it somehow. We had assistance from the 2nd key animation team as well.
— It seems that episode eleven had one of the stricter schedules among all the episodes. Ishibashi: Indeed, I was worried about whether we could really broadcast the episode or not, but the atmosphere in the studio wasn’t tense at all, and I felt very good. It was more like, "Can we do it?" rather than "Oh no, oh no!" (laughs). In the end, we managed to complete it (laughs). Murakami: While drawing, I kept thinking, "I can't believe this is going to air in a week," "unbelievable." Ishibashi: I think it was because Kurita-san, PD Takuya, and desk clerk Nakatani (Satoshi) were people who had such a reassuring presence. When I heard laughter coming from their corner, I thought, "As long as Tachikawa-san is laughing, it will still be OK.” — Who was the easiest character to draw? Azuma: The dark-haired woman was relatively easy to draw, but Decim was quite challenging to get right. Kurita-san's designs are characterized by having their mouths positioned lower on their jaws, but when I started drawing, I unconsciously kept placing the mouth too high… Kojima: All the main characters were difficult. Decim especially was a total struggle for me. Personally, I might not be good with characters who lack expressions. I found it enjoyable to draw characters with expressive faces or those in despair. Ishibashi: I found the dark-haired woman somewhat difficult to draw, but Decim was relatively easier for me. With guest characters, there was some flexibility in altering their faces, which might have been influenced by Kojima-kun's work in episode 1, where he broadened the scope of the acting. Murakami: I had already given up on trying to make them look on-model (laughs). Kurita-san's characters, when drawn by him, are very beautiful, but if you don't draw them well, the balance gets messed up. It's beyond me... (laughs). Also, in episode six, drawing Memine the cat was challenging. Azuma: But you were the one who could draw the cat the best. It was really helpful while working as an animation director. Murakami: Really? I didn't know what to do, so I started with a lot of cat sketches. Ishibashi: In episode six, Murakami-san drew great facial expressions in the live scene in the C part. Especially when everyone was like, "Yay!" (laughs). Speaking of what left an impression on me, in episode nine where I was the animation director, Hiromi Ishigami-san, Ryoma Ebata-san, Tetsuya Masuda-san, and Akitsugu Hisagi-san participated as key animators, and it was really enjoyable. Ishigami-san is my senior, but it had been about 7 years since I last saw her original drawings, and I was again impressed by how good she is. Ebata-san's presentation of Tatsumi smoking a cigarette and putting it out with his foot had a very good sense of perspective. Ebata-san was also in charge of the part during the ending theme, where the emotions were conveyed amazingly even without any dialogue. And Masuda-san also did a lot of keyframes. I personally like Masuda-san's drawings, so I got excited whenever I received his keyframes... But even though I'm talking so familiarly, I don't actually know Masuda-san at all (laughs).
— So you've only seen his keyframes.
Ishibashi: That's right. So when I came to the studio for the animation meetings, I wanted to meet him... I was saying "Masuda-san, Masuda-san" so much that they thought we were old acquaintances, but no one told me "Masuda-san is here" (laughs). I was shocked (laughs). Azuma: As an animation director, it makes me happy when I receive wonderful keyframe drawings. This time, there were a lot of good people of a similar age as me who participated, and I was glad that I was able to get a lot of inspiration from them. Kojima: As for what left an impression... Well, due to certain circumstances, I didn't work inside the building, so I feel like there's a bit of a difference in atmosphere here (laughs). But if I had been working inside, it would have been a bit more enjoyable, so it's a bit disappointing (laughs). Ishibashi: Kojima-kun and I have worked together at a different company before so I was looking forward to working together again, but when I heard that you wouldn't be joining the company, I was a little disappointed. Kojima: Since I didn't have many opportunities to meet people this time, I'll try my best to work in the studio next time (laughs). Ishibashi: (laughs) Speaking of disappointments... Personally, I wish I could have seen more of Kurita-san's keyframes. Like in the first episode, the scene where Decim pulls out the thread. Or in part C of episode three, when Chiyuki does that flourish at the end. Every time I thought, "Who did this!?", it turned out to be mostly Kurita-san (laughs). Kurita-san always talks as if he hasn't done anything, but I thought that was unfair. Murakami: He did mention he wanted to do keyframes. Ishibashi: When someone is that skilled, of course they would want to do keyframes. As an animation supervisor, you're in a supportive role, helping with the difficult parts and making sure the characters are on-model, so the keyframes are more exciting. Kojima: But as a Chief Animation Supervisor, Mr. Kurita, was able to make corrections in a way that preserved the good points of the person in charge of the original drawings, and I think this is one of the reasons why I enjoyed working on this project.
— Murakami-san, is there any particular scene that left an impression on you?
Murakami: Working on the figure skating scenes was really fun, but bowling was also really enjoyable. My previous project [Ace of Diamond] also had sports-related elements. Sports movements are different from everyday actions; they're very straightforward. For example, if you're "throwing a ball," you're solely focused on the act of throwing. That aspect makes your work very focused and exciting. During the bowling scenes, I consciously tried to convey the weight of the ball. However, the fun part is from drawing to the rough animation. When you’re in it, you think, "This might work," but when it comes together as a finished visual, you end up reflecting, "It's not as good as I hoped," right? Ishibashi, isn't that how all animators feel? [Ishibashi laughs]. The linetest is probably the most intense emotionally (laughs). There's no color or anything decided, so your imagination can run wild.
— It seems like the animators had quite a bit of freedom in their drawings, from what I've heard.
Ishibashi: When we were asked to "do this part," there were many areas where we had a lot of freedom. It might have been a bit challenging, but it allowed animators to expand their creativity. Kojima: It was easy for me too. I really enjoyed the work. Azuma: Especially with guest characters, since they only appear in that particular episode, I think they were given a lot of freedom to draw. Mayu in episode six, for example, was a character where we were told we could go all out with the comedic, exaggerated expressions, so there was a lot of freedom. Ishibashi: Mayu's face when she's hit with wind from below was really something (laughs). Murakami: Yes, there were many cuts where we could do whatever we wanted with the acting. Ishibashi: When we were asked to "do this part," there were many areas where we had a lot of freedom. It might have been a bit challenging, but it allowed animators to expand their creativity. Kojima: It was easy for me too. I really enjoyed the work. Azuma: Especially with guest characters, since they only appear in that particular episode, I think they were given a lot of freedom to draw. Mayu in episode six, for example, was a character where we were told we could go all out with the comedic, exaggerated expressions, so there was a lot of freedom. Ishibashi: Mayu's face when she's hit with wind from below was really something (laughs). Murakami: Yes, there were many cuts where we could do whatever we wanted with the acting.
— Looking back on the series, were there any episodes that left a deep impression on you?
Kojima: I like episodes eight and nine. They're a bit gut-wrenching, but there's something about the feeling of hopelessness that I appreciate. You don't see stories like that often. Ishibashi: I'm quite sensitive, so watching sad stories makes me sad too. I prefer more gentle endings, like in episode three. Also, the farewell between Chiyuki and Decim in episode twelve, that scene made me cry a lot (laughs). Murakami: When I saw episode twelve, I thought, "I was doing a ‘good story’ anime" (laughs). This series had different vibes for each episode, which was interesting, but episode six had a really good balance... The story was wild, and so was the animation. It was a lot of fun to watch. However, just before it aired, I started worrying, "Did we go too far?" "Is it going to be okay?" Even Shishido-san, who storyboarded it, was worried. Azuma: Is that so? I thought episode six was interesting from the moment I started working on it (laughs). So, I wasn't worried at all. I was like, "It's definitely going to be fun! Watch it!" Ishibashi: Actually, what made me wonder if it would be okay was the opening. When I first saw the storyboard, I thought, "Huh? Is this really for Death Parade?" (laughs). Azuma: Yes, that's right. When I heard the song, I was so excited that I thought, "Oh! (laughs). [Murakami laughs] Overall, this project was challenging, but it was also enjoyable.
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NOTE: I am not fluent in Japanese! I translated this with the help of a language partner. However, as neither of us are fluent in one another's native tongue, there may be errors in the translation. I typically don't share things I translate in my free time, but since no one has tackled these interviews in nearly 10 years, I figured it was nice to put these out there for folks who may be interested.
#death parade#anime#translation#interview#anime interview#takashi kojima#yuzuru tachikawa#mayu arita#ginti#decim#chiyuki#cloudytranslates
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Death Parade: Mayu Arita —Aesthetic
Mayu Arita's Character & Personality
Mayu is an eighteen-year-old high school student. She's a huge fan of the idol group C.H.A, of which Harada is a member. Mayu is usually foolish and lighthearted, but she has a pure side too. Being extremely feminine, she likes cute things, such as bears and kitties. More than anything, Mayu is kind and won't cause harm to innocent people. She's selfless towards the ones she cares about and will sacrifice herself if she thinks it will allow them to live.
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Mayu: I want to make out with him and chew his eyebrows off!
#source: parks and rec#fangirls am i right?#death parade#incorrect quotes#incorrect death parade quotes#mayu arita#anime#incorrect anime quotes
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Chapters: 1/1 Fandom: Death Parade (Anime) Rating: General Audiences Warnings: Creator Chose Not To Use Archive Warnings Relationships: Arita Mayu/Ginti, Arita Mayu & Ginti, Ginti & Memine (Death Parade) Characters: Ginti (Death Parade), Arita Mayu, Memine (Death Parade), Oculus (Death Parade) Additional Tags: Alternate Universe - Canon Divergence, Post-Canon, Ambiguous/Open Ending, Unrequited Love, Pining, Ginti doesn't get feelings, Romance Summary:
Ginti thought he’d seen Mayu for the last time when he’d sent her to the void with her one true love. But if that was true, then why was she in his bar?
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Have been polishing up some old (like 2-3 months ago fics) and posting them! I assume this fandom is big dead, but please correct me if I’m wrong
#anime#death parade#fanfiction#mal speaks#mal writes#ginti#death parade ginti#arita mayu#death parade mayu
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Death Parade edit by lazy_speedster
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I always loved the idea of Ginti and Mayu having a sibling like relationship.
So like Mayu would call him... Ginti-nii? Gin-nii? Or maybe just Nii-san or Nii-chan.
...onii-chan...
... no definitely Aniki, but I love to imagine that it's Ginti who convinced her to call him like that because that was cute when she was younger but with time it was just more and more embarrassing.
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Today's Beauty-Marked Beauty is: Mayu Arita from Death Parade
#beauty mark#beauty mark of the day#mod kaori#otd#girl#left lip#mayu arita#arita mayu#mayu#arita#death parade#posted
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Did Decim just? He cried? He smiled? I don’t. She’s gone now. And why did that all just happen in the same episode.... don’t even get me started on Mayu and Ginti.
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We can post these now, so here's my piece for the Memento Mori Death Parade tarot zine (@deathparadezine) - Mayu as the Hanged Man card!!
I got to experiment a bit with this and I'm really happy with how it turned out! ^^
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redraw from 2015!! still love her,,,
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Happy 520 Made using Lily story
#haibara ai#bourbon#furuya rei#ginti#mayu arita#death parade#chihiro kosaka#keima#tome kurata#takenaka#ray#emma#yakusoku no neverland#doa#hitomi#eliot#cp#ononoki yotsugi
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↠ death parade icons ~♡ like/reblog if you save © on twitter @mewseok
#death parade icons#death parade#decim#decim icons#kurokami no ona#kurokami no ona icons#quin#quin icons#chiyuki icons#chiyuki#clavis#clavis icons#arita mayu#arita mayu icons#mayu arita icons#mayu arita#oculus#oculus icons#anime#anime icons#random icons#icons#icon#twitter icons#twitter
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“Death Parade”
Opening 1 - “Flyers” by BRADIO
[gifs made by Hotaru]
#otaku#anime#anime gifs#death parade#dequim#kurokami no onna#nona#clavis#ginti#oculus#queen#mayu arita#gifs#mygif#my gifs
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I went around trying to find the source of this, ended up finding a song that SLAPS. (Shame the girl with the butt has a pretty tragic ending...)
youtube
Also, didn’t I see @thewispguy reblog a parody of this opening except with the cast of FE Fates: Conquest a long time ago? XD
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