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sakuramidnight15 · 3 years ago

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-TW OC Information-

Character Bio

Name: Daphne Chisaka

(Japanese: ダフネ千坂)

Romaji: Dafune Chisaka

Quote: "Ahh! I'm late! I'm late! I'm late!"

V/A: Nao Tayoma (Japanese)

Gender: Female

Age: 17

Birthday: November 28

Star Sign: Sagittarius

Eye Color: Pastel Purple (Her Normal Eye Color)

Soft Green (Second Eye Color and Half-Myth power activation)

Hair Color: Whisper White

Height: 156 cm

Race: Half Human, Half Myth/Hybrid

Species: Clock Hare

Homeland: Autumntown Village (The third country in the Island of Enchantment)

Family: William Chisaka (Father)

Avery Miller (Mother)

Daniel Miller (Older Twin Brother)

______________________

School Status and Fun Facts

Dorm: Anamosica (@dangerouspeanutstudent)

School Year: Second

Class: 2-B (Same Class with Rosabel)

Student no. 9

Occupation: Student

Pocketwatch Maker

Club: N/A

Best Subject: P.E. and English

Dominant Hand: Ambidextrous (Mostly Her Right Hand)

Favorite Color: Pastel Lavender

Favorite Food: Spicy Gumbo and Ice Cream Cake

Least Favorite Food: Brown Mushroom

Likes: Her family mostly her twin brother, clockwork and sweets.

Dislikes: Getting teased, Haru's pranks, sour candies, getting late.

Hobbies: Making pocket watches, studying, comic books, guessing games.

Talents: Transforming into her half-myth form, Agility, Teleportation, Mirror-move,

Nicknames:

Daphne-san or Daphne-chan (From her family and friends)

Daphne-senpai or Chisaka-senpai (From the freshmen students and mostly for Lynn and her friends)

Daph (From her older twin brother, Daniel)

Daffie-chan (From her childhood friend, Rosabel and her older brother Haru)

Little Herbivore (From Leona)

Bunny-chan (From Floyd)

Lapin d'horloge ("Meaning: Clock Bunny" From Rook)

Other Nicknames:

N/A

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Appearance and Personality

Appearance: Daphne has a small and petite female body build, quite similar towards Rosabel. She has short but bouncy whisper white hair which she clips the left side of her bangs with two small white ribbons. She was pastel purple eyes which they can turn into soft green when using her half-myth abilities. Daphne seems childlike but she's rather smart when it comes to clockworks.

Personality: Daphne is the younger twin sister of her older twin brother Daniel, her family runs a clock shop across of the beautiful streets in the land of Autumntown.

Daphne and her brother are childhood friends with Rosabel alongside with her older brother Haru. She and Rosabel had stayed in touch with each other till they arrived at NRC but only to be placed in different form though.

She's pretty shy and distance at first glance towards other people in the campus and is often seen with her twin older brother or with Rosabel and her brother from time to time, or she's pretty much seen with Lynette and team.

Judging how she's with them, she's pretty social and friendly to them besides the other students there.

Like Rosabel and Amelia, she's a pure ball of sunshine and is a baby like her childhood friend Rosabel, pretty much a cute goody two shoes but is rather clever. Daphne is pretty much as a social butterfly if you get close with her for real.

Like any other land-myth, don't mock her much though. She's doesn't have a good control on her temper will lose control pretty much easily, just like Rosabel, she's let her anger go pretty wild till she calm down. Though she's often teased for being small like her friend.

A clever yet quick little girl, nothing is stopping her path through the peaceful time of her life.

______________________

Trivia

-The name 'Daphne' means laurel from Greek. From the Greek word, meaning "laurel". In Greek mythology Daphne was turned into a laurel tree to enable her to escape from Apollo. While her surname 'Chisaka' is a Japanese surname, and is a surname of the Lunda tribe, meaning: porcupine.

-She's based on Dia Viekone, one of the main characters in the anime called: 'The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat'.

-Since one of her myth abilities is agility, she's pretty fast at runner even through P.E. classes.

-Her brother would often joke about her being an actual bunny but Daphne pinched him for it.

-She and her brother were involved in a crash incident and the two were only who didn't escape the falling rubble and received a three week hospitalization.

-Her voice is pretty child-like but it's in the same tone when shouting, so I chose Nao Tayoma to be her voice actor.

#mc #oc #twisted wonderland #disney twisted wonderland #gacha games #gacha club #daphne chisaka #daph #bio #character information

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thefinalanime · 3 years ago

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Hoy se estrena "Sekai Saikou no Ansatsusha, Isekai Kizoku ni Tensei suru"

Hoy se estrena “Sekai Saikou no Ansatsusha, Isekai Kizoku ni Tensei suru”

Títulos: Sekai Saikou no Ansatsusha, Isekai Kizoku ni Tensei suru, The world’s best assassin, To reincarnate in a different world aristocrat, The World’s Finest Assassin Gets Reincarnated in Another World as an Aristocrat, Ansatsu Kizoku, 世界最高の暗殺者、異世界貴族に転生するTipo: serie TVNúmero de episodios: ???Género: acción, fantasíaDuración: 24 minFecha de estreno: 06/10/2021Hora de emisión: 23:00h.…

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recentanimenews · 3 years ago

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INTERVIEW: The World's Finest Assassin Creator, Director, And Scriptwriter On Lugh's Unique Appeal

After taking the isekai world by storm with its unique take on isekai, The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat aired its final episode today. Crunchyroll recently got the chance to ask a few questions of some of the anime's staff, including director Masafumi Tamura, scriptwriter Katsuhiko Takayama, and original light novel creator Rui Tsukiyo. Read about how they got into anime, the process of creating the show, and what makes Lugh such an interesting character in the interview below!

How did everyone get involved with The World's Finest Assassin anime? Masafumi Tamura: It was one of several projects being handled by SILVER LINK. It was a coincidence. Like the goddess says in Episode 2, "I just so happened" to be assigned this project. But I do wonder if the direction of works I produce was taken into consideration.

Katsuhiko Takayama: Sometimes Director Tamura and I race as a pair in sidecar races (a low cc class known as F4 in Japan). Director Tamura is the driver and I am the passenger. If either of us makes a mistake, we crash together. We've driven off course and crashed into a urethane foam barrier before.

When Director Tamura and I met for the first time in a while at a race, I told him I'd just finished a previous job and had nothing on my plate. He'd just finished working on his previous job as well and been reached out to about his next project. We thought it'd be nice to work together again, so I was invited to work on the series.

Rui Tsukiyo: I knew I wanted to dig deep into this work, so we exchange ideas on how to expand the story. Judging whether or not the elements expanded on by Director Tamura and Mr. Takayama are appropriate for an aristocratic assassin is my most important job. Specifically, I attend and supervise series composition meetings. During script meetings, I work on the plot, write original scripts for the anime, and oversee the writing of the completed script. I also oversee storyboard production and post-recording.

Mr. Takayama and Mr. Tamura previously worked on the anime TWOCAR together. What is it like working together again? As for Mr. Tsukiyo, what was it like meeting these two for the first time? Tamura: After reading the original work, I felt it would be essential to include original elements when adapting the work into an anime. I'd previously worked with Mr. Takayama on the original series Ange Vierge and TWOCAR and told Mr. Takayama that we needed a scriptwriter who could create original elements from scratch. Since I hadn't worked with Mr. Takayama in a while, I wanted to show him how I'd grown and he taught me a lot about structuring a script, so I had a lot of fun.

Takayama: Prior to TWOCAR, we worked on Ange Vierge together, which was the first work Director Tamura directed. Since then, we've written a lot of stories about friendship between girls. Those experiences were useful when writing the friendships between Tarte and Maha, as well as Maha and the girls from the orphanage.

If you watch Ange Vierge and TWOCAR, I think you'll see the progression of our writing style. The depth of the way we express the girls' feelings increases. Additionally, the model for the goddess scenes we use as intermissions in The World's Finest Assassin can be found in these two works.

Tsukiyo: During our first meeting, I was a little uncertain about how the anime would be produced, but discussing the series with them and seeing their passion for the project and their approach to it grew my trust in them. Now I'm deeply grateful that they were the ones to make it.

How would each of you describe the appeal of The World's Finest Assassin to someone thinking about checking it out? Tamura: We've entered an era where people can binge-watch a series from the first episode all the way through to the final episode. I believe people will be curious to know what happens next. We've made something that will feel different if you watch the series again from Episode 1 after finishing the last episode. I also believe it's fine to watch the series for the heroines and characters you like. I would be delighted if people watched the series imagining themselves as Lugh.

Takayama: I hope people enjoy watching a protagonist who lived a unique life being forced to face that in another world and finding a different way to live.

Tsukiyo: The tagline for this series is "a stylish isekai reincarnation." Its selling points are its dark coolness and exhilarating nature. However, those are surface-level elements. What we really value is the growth of the protagonist assassin character and the human drama. Used up like a tool by his organization, an assassin who wishes to live as a human being in his next life is reincarnated. Though he becomes an assassin again, he's exposed to the love of his parents and the feelings of girls who adore him and gets closer to becoming human. I hope people learn to like that Lugh.

Masafumi Tamura, Series Director

As someone who has worked on all sorts of shows in many different roles, how did you get your start working on anime? Tamura: This answer may end up being a little bit more about my life in general, but until I found this job, I didn't know what I wanted my goals to be or what I could do. I didn't enter this industry because I wanted to work on anime, I just didn't have anything to do. I entered an animation school at a friend's invitation and I began drawing. The more I drew, the more I could see my own progress. I began thinking about what I wanted from the core of my being. The answer I arrived at was that I wanted to be an unsung hero. I wanted to help others and make them happy. You can't make it in the anime world unless you're good at art. I realized being introverted would hold me back, so I learned how to communicate with others and self-development skills from helpful seniors and friends. It took work to become the person I am now, but it also came down to chance encounters and fate. Every day I challenge myself and work hard so as not to betray that (albeit at a snail's pace lol). I chose anime production as my way of life.

You've worked as both director on shows like The World's Finest Assassin and The Misfit of Demon Academy as well as chief animation director on shows like SoniAni: Super Sonico the Animation. How would you describe the difference in your job between those kinds of roles? Tamura: As a director, you manage a series. A director judges and checks everything related to the anime, such as how to adapt the original work, offering suggestions on the direction of the series, the color and feel of character designs, shot angles and editing storyboards, the performances of voice actors, and directing the use of sound effects. Character design is exactly what it sounds like. You decide what art will be used for a series. The facial expressions and clothes are designed to fit the scene. The chief animation director sometimes does the job of the character designer, but the job requires skills equal to that of a designer. You supervise the quality of the art. What gets you the most excited when directing a particular scene or episode? Tamura: When scenes I want to show audiences are worked on by very good animators, when the image comes to life during compositing, when everything fits just right in all categories, when we create a beautiful-looking final product, and when voice actors ad-lib something surprisingly during recording. What do you try to focus on the most when directing an adaptation of an already existing work like this one? Tamura: Any existing work always comes with the setting of the original work. Visually speaking, that would be characters' manner of speech and personality, as well as what does and doesn't exist in that particular isekai. For example, we'll check if a world has electricity or steam engines. Of the things not present in the setting, we also consider how much we need to invent. From a story perspective, we look for vignettes hidden in the original work that we can expand upon.

What interests you most about World's Finest Assassin? Tamura: It comes down to the goddess' request to assassinate the Hero. Upon reading part of the original work as part of adapting the series, I felt that the protagonist gradually learns that in order to change, people need advice from others and emotions. In addition to the protagonist Lugh's transformation, the heroines express their emotions to Lugh. This is what I wanted to depict.

Katsuhiko Takayama, Series Scriptwriter

How did you manage to start your career writing in the anime industry?

Takayama: Initially I attended a film school because I wanted to work in SFX (special effects of the analog era; what's currently known as VFX). At the same school was my friend Hiroyuki Kawasaki, and he debuted as an anime scriptwriter while still in school. I was terrible at reading and writing and didn't like it, so I found it mysterious that he could endlessly write scripts.

After graduating, I worked on designing and producing SFX equipment. I installed equipment in model monsters for Director Keita Amemiya's Kamen Rider movie and controlled them using a computer. I also designed and produced prototype arcade games. Ten years after graduating, my friend Hiroyuki Kawasaki was finding work as an up-and-coming scriptwriter and he asked for my help on a science fiction anime. I wrote a single script at his suggestion and that was my debut. I learned later that he invited me to work with him because he wanted to turn me into an anime scriptwriter — me, the guy who couldn't write at all! While we were students, we discussed our favorite movies at length. Apparently, he thought I could write scripts because my explanations of movies were good. In reality, unlike writing novels, you can write scripts even if you're not a good writer, and being a good writer can even backfire on you, because entertaining writing can make bad scripts look good. I've heard of scripts that simply traced the original work that became final manuscripts because they were interesting to read, but once they started making storyboards, they discovered that it didn't work on camera, resulting in a chaotic and confused studio. The script is just the blueprint for the video, it's not a literary work whose writing itself you're meant to enjoy. In some ways, I believe I've been able to continue doing this job because I'm bad at reading and writing. Scripts aren't for reading, they're intermediate materials for producing a video. Like the internal equipment of an SFX monster, creating devices that will never be seen by the audience is the scriptwriter's real job. By devices, I mean Rube Goldberg machines made up of character placement and emotional vectors. When that device functions correctly, the dialogue is given life. It's the opposite of literature, in which one's writing ability gives life.

You've worked on adaptations like World Finest Assassin, but also on original stories like Aldnoah.Zero. How does the process differ between those different kinds of projects?

Takayama: It used to be that a lot of original works were produced. Because I debuted around that time, for me, original works are nothing special. My debut work The Brave Police J-Decker is an original work. Creating prequels to existing works like Ga-Rei -Zero- and Xuan Yuan Sword Luminary is similar to creating original works.

When adapting an original work, it's necessary to adopt a writing style suitable for anime. To borrow the words of Sergei Mikhailovich Eisenstein, simply tracing the original work becomes Formalism rather than production. Strictly speaking, the meaning of Formalism vanishes when you transform a written work into a visual one.

In order to convert a novel made up of sentences into a writing style suitable for video, you need to be able to write a script that's interesting for video. My experience writing lots of original stories when I was a new writer has been useful for adapting original works.

An anime doesn't have the time to cover every little thing that happens in its source material, so what do you look for when deciding what needs to go in the script? Takayama: The direction I follow changes depending on the work, and the things I pay attention to are always different, so I can't give a broad answer. Most often, I look for the main theme or motif of the work and make that the backbone or trunk of my writing. In practice, multiple themes and motifs are scattered throughout a work, but when creating the trunk, I select a suitable branch and adjust its placement and trim the other branches. How you choose your branches and change their placement can drastically alter the impression of a work. I talk to the director to decide on a vision for the product we want to make and reconfigure the story to meet that vision.

Have you ever needed to make any changes to make an adaptation work in anime form? What usually necessitates those kinds of decisions?

Takayama: Novels begin without a predetermined number of volumes or chapters to be published, but in the case of anime production, the number of episodes that will be produced is determined before you start. Because of that, I reconfigure stories so the themes conclude by the final episode. In this series, we delayed when Lugh gains his humanity. In the original work, he immediately gains his humanity while being raised by his kind parents. The anime shows the process by which he gains his humanity as a drama. In order to express that, for some time after his reincarnation, we show him behaving in the cold and calculating way he acted in his previous life. Though he appears kind on the surface when he meets Tarte and Maha, everything Lugh does is calculated. Lugh has always acted logically, but at the end of Episode 7, an unintentional accident allows Tarte and Maha to take over. Though it was an unintentional act of kindness, Lugh learns that there are people who feel indebted to and love him because of it, and his heart is moved for the first time.

What would you say you're most trying to capture about The World's Finest Assassin for its anime version? Takayama: This doesn't apply to only this series, but rather than simply recreating the elements of the original work as an anime, I try to make sure each episode is interesting to watch. When the medium changes, often the same content won't be interesting in the same way. However, many people who have read the original work and know what makes it interesting can't tell when the same content in the script is no longer interesting. In order to avoid that, I first erase my memories and return to a state before I read the book and then reread and closely examine the script. To elaborate, I erase even the script I wrote from my own memory and adopt the mindset of someone who doesn't know if future developments will be interesting and then reread and closely examine the script. If you don't do that, you run the risk of leaving in elements that are boring for viewers who don't know the original work and are seeing things for the first time.

Rui Tsukiyo, Original Creator

You tend to gravitate toward morally ambiguous anti-heroes in your writing. What do you find interesting about those kinds of characters? Tsukiyo: Rather than anti-heroes, it's strong and decisive protagonists that I like. I created Lugh Tuatha Dé to be that kind of person. As I mentioned in a previous answer, he becomes increasingly human as he grows and learns kindness. However, he does it without losing his strength and decisiveness, and he does what he has to do. That's what I like about him.

Lugh is an unusual isekai protagonist. He's in a young body, but he is actually a wise and experienced older man! It gives a fresh feeling to the story. What was your inspiration for his character? Tsukiyo: When creating the series, I decided right away that I wanted stylishness to be its selling point. It goes without saying that the protagonist would have to be cool. At the same time, if I was going to create an isekai, of which there are many and audiences are growing tired of, I wanted to do something different. Not by doing something strange, but by focusing on something other isekais glossed over and creating a higher quality series. Other series don't put much thought into why someone was reincarnated or utilize the character's experience and personality from their previous life. Most works neglect those elements. If I wanted to utilize the protagonist's previous life, then they'd have to be some kind of experienced professional. Furthermore, they'd have to be cool enough for a stylish isekai, the series' greatest selling point. After coming up with a mountain of candidates and carefully sorting through them, I was left with an assassin. Next, I considered how I could give personal drama to an assassin. Growth must be at the center of any reincarnation story. I thought long and hard about what it would take for the perfect professional assassin to grow. I realized a perfect assassin would have no emotions, so couldn't the story be able an emotionless assassin learning to feel emotions? That's how I came up with the qualities necessary for Lugh's character. By calculating backwards from and optimizing based on these ingredients, Lugh Tuatha Dé was created.

The magic system and political intrigue in The World's Finest Assassin are detailed and important to how the story plays out. How do you develop those elements? Before coming up with the plot, alongside it, or something else? Tsukiyo: I love movies. I watch three every week. It's my drawer of ideas. I build a world in which Lugh can act using things inside that drawer of ideas.

My approach is not to create a world separate from its characters, but to create a world that will let the character shine. Creating the world first increases the realism of the world, and creating the characters first increases the drama. Both methods have their strengths and weaknesses, but I attach great importance to drama. Since I'd polished the character of Lugh so much, it was easy to imagine a world in which Lugh could act.

Do you ever get stuck when trying to come up with the next part of a story, and if so, what do you do to get inspiration to continue? Tsukiyo: That doesn't happen often when you create characters first. If you have characters, they'll act on their own for you. Though I've never had the experience of being unable to write when I want to, I have experienced not wanting to write, and that's my biggest problem. If anyone knows of a good way to handle that, I'd love to hear it.

What would you like viewers to come away with after watching The World's Finest Assassin? Tsukiyo: I've answered the question of what's the selling point of the series and what makes it interesting at length already, but I believe audiences should enjoy the series however they want. You can focus on the drama of Lugh's growth, primarily enjoy the stylish and cool assassination scenes, or get excited over the cuteness of Dia, Tarte, and Maha. And these are only a few examples; you're free to enjoy the series however you want. I hope that people squarely face the series and find something they like about it. And if they do enjoy it, then I'd appreciate it if they told their friends about it, bought related merch, and supported the series so that we can see what happens next!

Watch The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat on Crunchyroll today!

David Lynn can be found obsessing over Fate/Grand Order and D4DJ Groovy Mix on Twitter @navycherub.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: David Lynn

#Anime #News #Latest in Anime News by Crunchyroll!

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ljaesch · 3 years ago

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English Cast Announced for The World's Finest Assassin Gets Reincarnated in a Different World as an Aristocrat Anime

English Cast Announced for The World’s Finest Assassin Gets Reincarnated in a Different World as an Aristocrat Anime

The English cast has been announced for The World’s Finest Assassin Gets Reincarnated in a Different World as an Aristocrat anime: Christian Banas is Lugh Caitlin Glass is Dia Hayden Bishop is Maha Courtney Lin is Tarte Mick Lauer is Assassin Kirstie Simone is directing the dub. Crunchyroll will begin streaming the English dub on November 24, 2021. Source: Crunchyroll

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#anime #The World's Finest Assassin Gets Reincarnated in a Different World as an Aristocrat

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newsintheshell · 4 years ago

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Sekai Saikou no Ansatsusha Isekai Kizoku ni Tensei Suru: anime in arrivo per la light novel

Dopo Redo of Healer un’altra opera di Rui Tsukiyo sbarcherà in tv da questa estate.

Kadokawa ha annunciato la produzione di una serie animata, basata sulla light novel “The World's Finest Assassin Gets Reincarnated in a Different World as an Aristocrat” (Sekai Saikou no Ansatsusha, Isekai Kizoku ni Tensei Suru), una delle numerose opere di Rui Tsukiyo, autore anche di “Redo of Healer”.

L’anime andrà in onda a partire da luglio in Giappone e vede confermato il cast del Drama CD uscito lo scorso aprile.

Lugh: Kenji Akabane (Shinichi sakurai in Uzaki-chan wa Asobitai!)

Dia: Reina Ueda (Shuka Karino in Darwin's Game)

Tart: Yuuki Takada (Elma in Miss Kobayashi's Dragon Maid)

Maha: Shino Shimoji (Mikochi in Hakumei to Mikochi)

Per quanto riguarda lo staff, l’adattamento è diretto da Masafumi Tamura (Maou Gakuin no Futekigousha, Kenja no Mago) e in lavorazione presso SILVER LINK (My Next Life as a Villainess, BOFURI) e Studio Palette. La sceneggiatura è curata da Katsuhiko Takayama (Big Order, ef - a tale of memories), mentre il character design è affidato a Eri Nagata (Ensemble Stars!, Blade & Soul).

Il più grande killer della Terra sapeva vivere solo come strumento dei propri datori di lavoro, finché non hanno deciso di uccidere anche lui. Rinato per grazia di una dea in un mondo di spade e stregoneria, gli viene offerta la possibilità di fare le cose diversamente questa volta, ma c'è una condizione: dovrà eliminare un potentissimo eroe, prima che questo causi la fine del mondo.

Ora conosciuto come Lugh Tuatha Dé, il maestro assassino ha certamente il suo bel da fare, soprattutto a causa di tutte le belle ragazze che lo circondano costantemente. Lugh sarà anche stato un sicario dalle doti impareggiabili, ma come se la caverà contro nemici dotati di poteri magici?

La light novel è stata lanciata online nel luglio del 2018 e dal febbraio dell’anno seguente viene pubblicata anche in formato cartaceo, corredata delle illustrazioni ad opera di Reia. Il 6° volume sarà in vendita in Giappone a partire dal 27 febbraio.

Dal gennaio del 2019 ne viene serializzata anche una versione manga, disegnata da Hamao Sumeragi, giunta al secondo volumetto per ora.

* NON VUOI PERDERTI NEANCHE UN POST? ENTRA NEL CANALE TELEGRAM! *

Autore: SilenziO))) - Twitter @s1lenzi0

[FONTE]

#the world's finest assassin gets reincarnated in a different World as an aristocrat #sekai saikou no ansatsusha isekaikKizoku ni tensei suru #anime #light novel #serie tv #manga #newsintheshell #cartoni animati #news in the shell #animazione #giappone #rui tsukiyo #ansatsu kizoku

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theanimeview · 3 years ago

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Crunchyroll Expo 2021 - Behind-the-Scenes Story of "The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat" (ft. Masafumi Tamura, Katsuhiko Takayama, Satoshi Motonaga) - Notes

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Credit: Peggy Sue Wood | @pswediting

About the Event

This panel at Crunchyroll Expo 2021 features exclusive behind-the-scene info from the staff of "The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat," Masafumi Tamura, Katsuhiko Takayama, and Satoshi Motonaga. This is NOT a perfect transcription of the panel. It is a close transcription, with some cuts in the dialogue. Still, I have tried my best to remain accurate to what what said in this panel.

About the Anime / Introduction to Panel

Releasing from Crunchyroll in October 2021 comes a new isekai series filled with assassinations, adventure, and magic. This Fall release is based on “The World’s Finest Assassin,” a popular light novel series by Tsukiyo Rui who also authored “Redo of a Healer” (a very different series in terms of tone and direction). The original light novel has sold over 400,000 copies and has a manga adaptation from Yen Press.

The story follows Kenji Akabane. the world’s number one assassin, as he is reincarnated as the eldest son of a family of aristocrat assassins, Tuatha Dé, Lugh. The goddess that grants him this new life with his memories and gives him one mission to complete in this other world: Kill the hero who is prophesied to destroy the world. He must use his vast knowledge and experience gained that made all manner of assassinations possible in the modern world along with the secret techniques and magic of his new fantasy world along with the insight from his powerful family of assassins to complete his task.

While the story and character take center stage to audiences, one cannot overlook the important roles and contributions behind-the-scenes that make the anime possible. At the 2021 Crunchyroll Expo, staff from the anime sat down for a behind-the-scenes discussion of this upcoming series. The panel included Satoshi Motonaga, the producer of “The World’s Finest Assassin;” Masafumi Tamura, the director who previously directed “The Misfit of Demon King Academy” and “Wise Man’s Grandchild;” and Katsuhiko Takayama, the series composer and screenwriter who previously composed for “Ga-Rei: Zero” and “Aldnoah. Zero.”

Motonaga: Could you tell us what you thought when you first learned about this series?

Tamura: In other isekai series, usually someone with a totally different profession becomes the hero or protagonist, but in this case, he keeps the same profession. The goddess was looking for a professional—the best assassin in the world. I think that kind of protagonist makes the series more accessible. There’s no complexity related to his reincarnation. For me, the question was, how do we make the series awesome given that?

Takayama: This is actually my first time working on this kind of reincarnation story. When I read the series, despite the genre being new to me, it felt nostalgic. Ordinary Earthlings or humans visiting another place and becoming superhuman is a nostalgic genre for me. Like “The Skylark of Space,” a human visits another planet and puts salt on his food because it’s seasoned differently from what he’s used to. The aliens respond by asking, “What is this stuff?” The planet doesn’t have salt, so it’s an incredibly valuable material there. A war is started over salt. The enemy wonders if they can harvest salt from the protagonist, and try to kill him. The idea of common knowledge and materials we have here, becoming incredibly valuable in another world has been around for a long time. We’re revisiting that idea in the present, which feels nostalgic.

Motonaga: So while the perspective is new, the currently-popular format of going to another world has existed previously.

Takayama: [nodding] The format itself and people’s interest in it has been around for a long time.

Motonaga: It’s not just the younger generation that’s enjoying it. There’s a generation that’s already experienced it who might be enjoying works in this genre.

Takayama: That’s right. The current popularity of a genre focused on that specific element felt nostalgic.

Motonaga: It certainly is. I see.

Motonaga: Tamura, you mentioned earlier that the protagonist keeps the same profession. In other series like this one, there are surprisingly few in which the protagonist is reincarnated with the same profession.

Tamura: Being able to use his previous knowledge as an assassin again makes a lot of sense. The goddess chose to reincarnate him because he has that knowledge, and can use his skills as the world’s greatest assassin to kill the Hero and complete the mission she gave him. I think it naturally leads into the start of the story.

[Note: At this point in the interview, the panelists showed the official trailer for this upcoming series. We’ve linked the trailer above.]

Tamura: The women on the cover illustrations for “The World’s Finest Assassin” were drawn by character designer Reia. When adapting their design for animation, I insisted that they be the same women. While designing the female characters, we received a lot of help. We asked character designer Osada Eri for her assistance, and ended up with the cure, cool characters you saw in the video. The design for the pre-reincarnation Lugh came from Reia. I’m very glad we were able to apply designs for the characters that looked the way they should.

Regarding the gun models in the anime:

(TAV photos/Peggy Sue Wood, Screenshot 1 from “Behind-the-Scenes Story of ‘The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat’")

Tamura: This is the model of sniper rifle used by the assassin. We wanted to express the fact that he performed a cool job in the real world. We asked Tsukiyo what kind of gun he used. Since he’s the world’s best assassin, he’d use the world’s best tools, so we went with the CheyTac M200. When we said we’d like to see how it looks when a human holds it, for animation reference, Takayama provided this for us.

Takayama: It’s a Japanese model gun, so there’s nothing dangerous about it. Tsukiyo offered a few suggestions when we asked about the gun. Instead of lead bullets, it uses specialized brass cartridges that look like they were produced on a lathe. It’s an extremely accurate and incredibly expensive rifle. We wanted to make it obvious that his employer was a large and wealthy organization, so this is the model we decided on.

Tamura: We had a 3D [digital] model made for the gun. At first we wondered if we should animate it by hand, but the 3D director, Eda, is very familiar with firearms. When we told him about it, he said, “Yeah, sure. I’ll make you a model,” so we took him up on it. We combined that with the characters in the current animation style, which combines 2D and 3D. When the character cocks a gun, it’s a combination of 2D and 3D. The shot of the spent shells being ejected is 3D only. When a character aims and fires a gun, we used a hybrid style that includes 2D animation. I hope we made the gun look cool.

Motonaga: I’d like to touch on the series’ charming characters, so let’s talk about them. First, there’s the protagonist, Lugh. What do the two of you think of Lugh?

Tamura: [Lugh] was very difficult to animate. He doesn’t really act like a child, but sometimes he does. He’s a complicated character to direct and animate. I struggled with how to get the audience to relate to him while working on the series… [During the animation process, the team focused on his looks.] One of the highlights is seeing how he changes throughout the anime.

Takayama: Rather than focusing on his looks, I write about what’s on the inside, like the principles of his action. In doing that, he reminded me of Ogami Itto from the old series “Lone Wolf and Cub.” […] He seems to perform his duty without considering the feelings of others, but the answers he produces are actually overflowing with humanity.

Tamura: It’s one of the things that make us like him.

Takayama: But the character himself isn’t interested in being liked, and doesn’t believe he’s doing anything good. He doesn’t see himself as performing righteous acts, and isn’t motivated by a desire to do good. He’s just doing what he thinks is right according to his own logic, but from the outside, we can see that what he’s doing is righteous.

[Note: The panelists talk about three female leads. I excluded this discussion because it was really more of a dive into their design and flat-characteristics than about the writing or development of the characters in the story.]

Motonaga: Is there anything in particular you paid special attention to, or wrestled or struggled with as part of the series composition?

Takayama: The original work is a web novel, which means it mainly features a ton of short stories. This type of series with multiple short stories is very difficult to compose. I’ve done something similar before. There was a series composed of several short stories told in a row. It was another series about assassins starring the voice actor Akabane, and the original work was structured the same way. The series composition was incredibly difficult. If the individual stories were even shorter, I would have more options. A little longer stories would have been easier too. This series was filled with short stories that are exactly the most difficult length to work with. The series composition required some special techniques.

I can’t tell you exactly what techniques I used, since that would be a spoiler, but they weren’t all the same. Depending on the content, I had to change which technique I used. It was a very difficult series to adapt into a script for an anime.

Motonaga: Tamura, what did you think of what Takayama just told us?

Tamura: When I get the scripts, I apply the characters’ expressions to them, and their performances or acting--a word I don't particularly like [for what I do]... I want the characters to feel alive within the story. I want the dialogue to feel conversational. Having the actors record the lines will add to that.

Motonaga: In discussions with the author, Tsukiyo, is there anything that stands out to you now that you’ve come this far with the recording?

Tamura: Since he’s the original author, we asked if there was a difference in energy between the lines we recorded and the original work. He was very accepting about it. He said he’d leave it up to the anime professionals, and we’ve leaned heavily on that. I’m very grateful for his consideration. He trusts us and we don’t want to let him down. We rely on hims for some things, like if we don’t know how a line should be spoken. We ask him questions like that during today’s recording. When we ask him how a certain moment is supposed to feel, he gives us advice on finding the right energy for the actors and performance. When I read “The World’s Finest Assassin,” I felt it was different from Tsukiyo’s other works, but I could still sense him in it.

Motonaga: Takayama, how was your experience working with Tsukiyo?

Takayama: You can tell when you speak with him, but he’s very smart. Maybe that’s a rude thing to say but Tsukiyo is very intelligent. He has a lot of ideas, and sometimes I wonder if my plans have diverged too much from the original work. But when I ask him about it, he answers my questions fully understanding what my plan is. He’s not just looking at it superficially. He sees the plans laid out in the script, which would normally be difficult to understand, but he responds relatively quickly. He struck me as a very intelligent person.

Writing an anime and writing a novel are two very different activities. Unless the series happens to be of a particular style, it’s practically impossible for them to match up exactly. This is true of writers for comics, novels, and games as well, but there aren’t many writers who understand writing for a field other than their own. In most cases, it takes a long time to explain things. But when I explain to him how writing a script for an anime works and what I want to do, he picks up on it very quickly. He considers the benefits and drawbacks to doing something in a certain way when answering my questions. It made me think he’s a very flexible person.

Tamura: It was important to establish the world in our meetings with Tsukiyo before we began animating. When he told us about his story’s setting, he also described the kind of music he imagined would go with it, and we were able to select the appropriate instruments. I feel like Tsukiyo was integral to the production.

(TAV photos/Peggy Sue Wood, Screenshot 2 from “Behind-the-Scenes Story of ‘The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat’")

[Tamura then shows us one scene’s storyboard from the anime and explains a little about what it is and how it fits into the process of creating an anime. Rather than type this out, I invite you to check out our post on Aniplex’s panel “How to Produce an Anime” from Aniplex Online Fest 2020 here: https://theanimeview.com/post/639260776495038464/aniplex-online-fest-how-to-produce-an-anime]

(TAV photos/Peggy Sue Wood, Screenshot 3 from “Behind-the-Scenes Story of ‘The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat’")

Above is one screen shot from his presentation of the drawn out 3 second scene when Tarte reveals her staff/spear in the PV prior to coloring. It took 46 pages of key frames for that 3 second scene.]

Tamura: It takes the sweat, tears, and sleep deprivation of all these people (production staff, animators, etc.) to make these. Each 30-minute episode is made by repeating this process over and over.

Motonaga: What are those other papers you’ve got over there?

Tamura: When we discuss the storyboards, we draw rough sketches of what we think the animation will look like.

(TAV photos/Peggy Sue Wood, Screenshot 4 from “Behind-the-Scenes Story of ‘The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat’")

Tamura: I meet with the animation director and chief animation director, who are both responsible for checking the drawings, and we lay the corrected drawings over each other, and finally--it’s traced with see-through paper, and the combined finished product is that stack of papers we saw earlier.

(TAV photos/Peggy Sue Wood, Screenshot 5 from “Behind-the-Scenes Story of ‘The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat’")

Tamura: The pink and yellow lines are my corrections. We go through four total rounds of corrections before it’s animated.

(TAV photos/Peggy Sue Wood, Screenshot 6 from “Behind-the-Scenes Story of ‘The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat’")

Tamura: Japanese animation is an art. Your favorite series are probably made the same way. Additionally, there are time codes put into the same folders as these frames. Time codes truly are the blueprint of the episode as they show which image goes where in the run-time.

(TAV photos/Peggy Sue Wood, Screenshot 7 + 8 from “Behind-the-Scenes Story of ‘The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat’")

Motonaga: On the official Twitter for this series, after each episode they will be releasing parts of the storyboard for those interested.

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Season 1 of "The World's Finest Assassin Gets Reincarnated in Another World as an Aristocrat" will be available on Crunchyroll in Fall 2021.

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