Hideaki Koyasu Long Interview! (The 16th "Inside Man" of Anime and Games)

This series of articles provides an in-depth look at the voices of the animation and game industry. In this 16th installment, we introduce Hideaki Koyasu. Mr. Koyasu is active in a variety of media, but is best known to fans in the anime industry for his scripts for "Yoru Mae Yori Ruriiro na," "Minamike," "Yuru Yuri," "Dried-up Sister! Umaru-chan," and "Gavril Dropout," among others. In 2015, his light novel "Lance and Masks" was adapted into an anime and became the talk of the town. In this article, we asked him about his background in anime scriptwriting, his commitment to writing, his attitude, and his aspirations for the future.

Throw in a script, and the director/producer stops

Thank you very much for taking time out of your busy daily writing schedule. You are active in many fields, but what do you keep in mind when writing an anime script?　I heard that in live-action films, there is a technique called "don't tell the story, show the story.

Hideaki Koyasu (Koyasu): Expression and description are the director's and producer's job, so I try not to say too much. In a sense, the lines are where I can write the most. If there are too many lines, they can be cut down on the set or in the storyboards, but it is very difficult to do the opposite.

Koyasu: It seems that some writers submit their plots and scripts with annotations.

Koyasu: In my case, I just throw out whatever comes to mind, even if I think it's impossible. I am the "thrower" and leave it to the director or producer to "stop" the project. There are many times when I throw a wild pitch (laughs).

When a work is based on an original story, it is important to bring out the charm of the original work. What do you pay attention to when you have to change the setting of the original work?

Koyasu: In "GJ-Bu" (2013), we decided to only have one male character, Kyo-yoru, but basically, we try not to change the setting. It is not about changing, but about what to show.

Koyasu: In addition to the director, do you also talk with the author of the original story at the script meeting?

Koyasu: It depends on the situation.

Even the original author makes changes, but the animation is the director's work.

Koyasu: How many revisions do you make?

Koyasu: I submit at least three drafts.

Did you also revise your original work, "Lance and Masks" (2015)?

Koyasu: Of course. The animation was directed by Kyouhei Ishiguro, so he gave me a lot of suggestions, saying, "I want you to do this here.

Do you have a specialty?　You seem to participate in many bishojo (beautiful girl) and daily life works.

Koyasu: I try not to be conscious of it. I try not to be conscious of it. So these days, I try to write in a way that says, "I don't know what I'm good at, but if people around me say so, then I'll try to write.

In 2014, you wrote an original historical novel titled "Shuang Yan no Sora" (The Sky of Twin Swallows).

Koyasu: This was my first time writing a historical novel, so I made a conscious effort to make it look like a historical novel. But when you are conscious of that, you end up making whatever you do look like a joke.

Koyasu: Do you write differently for novels and animations?

Koyasu: In novels, you can write as much as you want on the inside. If I wrote that much in an animated film, I would be scolded. Also, compared to novels, anime cannot be completed if the story remains static.

Koyasu: What do you pay attention to when writing dialogue between characters?

Koyasu: In the past, I was very careful about this because if there were too many characters in a drama CD, it would become confusing. Now I don't pay much attention to it and leave it to the scene.

Koyasu: Do you think there is a difference in the way you work now compared to in the past?

Koyasu: I think I am trying less and less to do things on my own. I often feel that I am not always able to say, "I am right, and this technique is the right one.

Koyasu: What do you pay special attention to in your characters' gestures and performances?

Koyasu: I like to play the role of a princess, so whenever I have the chance, I do it (laughs). (Laughs.) It's fun when I hold a male character or someone who is bigger than me in my arms.

Do you participate in postrecording?

Koyasu: It depends.

I make stories that are not influenced by trends.

Koyasu: Are there any works that have influenced you?

Koyasu: I try not to watch them because I want to be as ignorant as possible. If I watch them, I get pulled in. If you know something that others know, you can ask them. What I don't know is more interesting. Then you end up with stories that have nothing to do with trends.

Did you use the same method to create "Lance and Masks"?

Koyasu: The idea itself had been around for a long time. and I was accepted into the project.

I felt that many of your works have a family-like warmth to them.

Koyasu: I've never been conscious of it, but when I look back on them, I sometimes think that's the case.

Koyasu: Are there any works that remain in your memory that have nothing to do with your own creation?

Koyasu It varies from time to time, but I like Haruki Murakami's essays.
The first light novel I bought was "NG Knight Ramune & 40EX: Bikubiku Triangle Love Storm Daisakusen" by Satoru Akahori. At that time, light novels were very interesting. I also read "The Chronicles of Rhodes Island" and "Slayers" because I was of that generation.

As for manga, I read "Alien 9" by Hitoshi Tomizawa, which gave me a shock like a blow to the head. As for movies, I enjoyed "Phantom of Paradise" directed by Brian De Palma. I was surprised at the speed at which he was able to move forward.

Do you have any targets?

Koyasu: I enjoy his films for what they are, but I can't set a goal for myself. I can never be as good as him even if I try to imitate him. Well, since I am here, I think I should enjoy myself as I am.