TV Anime "Everything Becomes F" Digest video up to episode 6 is now available!　Director Mamoru Kobe explains the direction of each episode.

A digest video of the sixth episode and a director's commentary on the production of the currently broadcast TV anime "Zenkutsu wa F ni naru THE PERFECT INSIDER" have been released.

The anime work is based on the masterpiece "Zenkutsu wa F ni naru THE PERFECT INSIDER", which is the debut novel by Hiroshi Mori, a mystery novel writer who is highly regarded as a new genre of "science mystery" for the way it presents mathematical problems, and has sold a total of 3.9 million copies. An animation work based on the masterpiece, "Zenkajoto wa F ni naru. Four Seasons (all four books), which describes the life of the precocious genius programmer Shiki Magada, who appears in the work, is also used as the original story. Directed by Mamoru Kobe, series composition and script by Toshiya Ohno, character design by Yoshiko Okuda, music by Kenji Kawai, and produced by A-1 Pictures.

The story has reached its climax with the broadcast of the sixth episode, and a digest video and director Mamoru Kobe's commentary on the show's direction to date are now available. Mr. Kobe said that he depicts "genius" rather than "incidents" under the theme of "thinking," and it can be seen that he has adopted a number of experimental techniques. The film also introduces his particular approach, such as the restrained use of colors, realistically reproduced smoking scenes, and the story structure in which he tried to depict one of the original books in the series.

The first episode, "White Meeting," [expresses images as if they were music with a rhythm created by repetition].
　Shiki and Moe's meeting scene in the white room & conversation scene at a family restaurant
I had always thought that "music" and "images" are similar, and I had the idea of creating "images" like "music" in which the conversation overlaps with a certain rhythm like a melody. For the scenes of Shiki and Moe meeting in the white room and the conversation at the family restaurant, I tried to create a constant rhythm with "images" rather than "sound" like a metronome. I thought that it would be easier to show the same thing over and over again, so I made the cuts in the same position correspond to each other. By doing so, I challenged myself to create images that look like music. But now I think it would have been easier to understand if I had shortened the tempo a little more... (laughs).

Episode 2 "Aoi no KAIKOU" (Encounter in Blue) [More dramatic with the effect of darkness].
　The scene in the car between Shindo and Shiki & the scene where the body in the wedding dress appears.
I think "darkness" brings various effects to images, and in episode 2, I challenged myself to tackle the "darkness" in the images. First is the scene where Shiki asks Shindo out in the car. In the original story, Shindo and Shiki have a conversation in the car, but Shiki doesn't show off this much. In the anime, Shiki's bewitching charm is added to the scene. Shiki shows her legs to show her femininity, which is something many men are attracted to. Also, there is a scene where Shiki lays her hands on Shindo, and when she removes her hands, she intentionally leaves one finger behind. I think that is the point where it looks erotic. (Laughs) But I think this would look completely different if it were done in a park in broad daylight, for example. It is the dimly lit interior of the car that makes it more erotic. I think it is truly the effect of darkness. Also, in the scene where the corpse in the wedding dress appears, I included a direction in which "light" and "dark" are shown repeatedly at a certain tempo. This is the same as the constant rhythm of the first chapter, but while there are times when the constant rhythm is pleasant, it gradually becomes irritating and intimidating when you repeatedly see and don't see. The last scene, in which the corpse appears, is intended to have that effect.

Episode 3, "Red Magic" [What is clarity?
　The scene where the future appears
I like the scene where the future appears. Since it is the appearance of a new character, we would normally have the character appear with a bang with music and sound effects, but we dared not to use any music and just had Moe watch as the future appeared. The point of this direction was not to try to impress the audience, but to leave a lasting impression by not doing anything. This is something that applies to the entire work as a whole. Recently, the mainstream in animation is to use beautiful, vivid colors, but I thought it would be nice to have the opposite sometimes, so I consciously designed the colors in a live-action style, keeping the overall tone of the colors low. By daring to deviate from the mainstream, I aim to differentiate myself from other works.

Episode 4, "Rainbow Colors of the Past" [visual expression of multiple personalities].
　Scene in Shiki's bathroom
For Shiki's multiple personalities, I referred to Daniel Kice's "24 Billy Milligan" documentary. The mechanism of multiple personalities is that various personalities are created to protect the main personality, and I wrote about this in my correspondence with Dr. Mori. For Shiki's conversations with other personalities, I decided to have her talk with her own personality through the mirror in the bathroom. I think mirrors are very mysterious. Do you ever look at yourself in the mirror and see a different person? Do you wonder if this is really you? I used the mirror to achieve this effect. My favorite part of this episode is Michiru, the robot that Shiki made himself. Michiru is very cute and popular among the onsite staff. In the scene where Michiru first appears, did you notice his eyes twitching? Did you notice that? Who? Who? That's an expression of Michiru's feelings.

Episode 5 "Silver Hope" [Cigarette expression
　Argument scene between Saikawa and Moe
The long scene in Part B, where Saikawa and Moei argue, is the same as before, with the same positions repeated at a constant tempo. It was a very difficult scene to present in a long scene, and Mr. Kudo, who was in charge of storyboarding, had a hard time with it. As a result, I am grateful that he was able to understand our intentions.This is not limited to this scene, but Saikawa's "cigarette" played a role in adding variety to the picture as he repeatedly shows the same position. Normally, cigarette smoke is usually added in the filming process, but in this case, it was all added by CG. I ordered this because I thought CG would have the advantage of making it easier to follow the moving smoke point. But the more important factor was that Mr. Fukuda, who was in charge of CG, used to be a smoker until recently. Many people don't smoke these days, so it is difficult to explain the realistic expression of cigarette smoke, but I knew that Mr. Fukuda would be able to handle it. He was very satisfied with the work. Also, I often receive comments that Saikawa's smoking gesture is very realistic, and I think this is because he is left-handed. There are not many left-handed characters, so when animators are drawing, they often ask themselves, "How do I hold it? I think this led to the realistic depiction of the character. I think this is what led to the realistic depiction.

Episode 6, "Crimson Determination" [The theme of the entire work is "Thinking"].
　Saikawa and Moe's scene of organizing the case.
I think this is the kindest scene in "It All Comes F". It is a scene that "explains" the cases so far from the viewpoints of Moe and Saikawa. However, in the series as a whole, I stopped "explaining" as much as possible. I understand that this may have some negative effects, but when I read the original story, I thought that the theme of this story is "thinking". Therefore, this time, I wanted to let the audience think about it without explaining as much as possible. This is not only to avoid explanatory dialogue. I also put this into practice in "Color. This time, I used a structure in which scenes of recollections of the four seasons are inserted in bits and pieces. Normally, I often use a technique to diminish the color tone of past scenes so that they are easily distinguishable from reality, but I did not dare to do so in this work. If the viewer feels that this is the past, he or she can look at it as the past, and we want the viewer to "think" about it and make his or her own judgment. We try not to impose our ideas on the viewer.I don't think that explaining everything is "easy to understand. For example, I think anyone can understand the feeling of a boy liking a girl in the same class without explanation, but I think "easy to understand" is to be able to understand it sensuously as if there is no reason for liking someone. I dare not do anything explanatory this time. On the other hand, I wonder if viewers would understand so much if I did not explain. I don't think so. I don't think so. Also, this time, I wanted to take my time with the theme of "thinking," so I dared not to touch other S&M series, and delved only into one case of "Everything Turns F." What I wanted to depict the most this time was "the case where a man was killed by his own family. What I wanted to depict the most this time was not an "incident" but a "genius. In that sense, the anime "Zenkitachi wa F ni naru" is not a mystery.

Episode 7 "The Gray Border" [Creating sound without editing the music as much as possible
　A scene with a B part
I am very happy that Kenji Kawai, the musician, raised a very Kawai-like music this time. Partly because of this, but also because I originally did not want to edit the music and use it, and I want to use one song as long as possible. In the past, there was a film that used a single piece of music in order to explain a scene with music, such as sad music for a sad scene and happy music for a happy scene, and I felt that it was unbearable to watch. I don't think this is the composer's intention, so I try to use a single song as it is.In Chapter 7, during a scene in the B part, a song written by Mr. Kawai is played just for this scene. There is a reason for this.... One day, after Mr. Kawai had delivered all the songs and the dubbing had progressed to a certain extent, I suddenly realized something. There is a bright and happy scene in chapter 7, but all the music delivered by Mr. Kawai is serious and profound! I was so impressed. That's the kind of work "Everything Turns F" is about. So I consulted with Mr. Kawai, and he wrote music for this scene in a short period of time. It is such a very extravagant scene. Also, in chapter 7, there is a conversation between Saikawa and the future, and it is all in English. And it is quite long. Mr. Kase, who plays Saikawa, and Mr. Kaita, who plays Mirai, had a very hard time. I don't think there is any other anime in which the characters speak only English for such a long time, so please pay attention to it!