Interview with Yu Shimizu, author of the April broadcast anime "Shika Fudo Yotsukuro Biyori".

The story is based on the original story by Yu Shimizu, and is currently being serialized in "Monthly Comic Bunch". The story is set in a Japanese-style cafe, Shikafudo, where the owner Sui (tea master), Gure (latte art), Tsubaki (sweets), and Tokitaka (cooking) "entertain" their customers. We interviewed the original author of this work, Yu Shimizu, whose TV anime has finally started broadcasting. We asked him about the story of how the work was born and his expectations for the anime, as told from his unique point of view as the original author.

The first serial work that he and his editor worked on together

─ I understand that some of you may be learning about this work for the first time through the anime adaptation. First of all, could you tell us what kind of work it is?

Shimizu: The story takes place in a coffee shop called "Shikafu-do" where there are four clerks with different personalities, and they solve the problems of the customers who visit there. In addition, we try to include stories of various tastes, such as heartwarming stories about the daily lives of the store clerks, or stories that make you cry. There are serious stories as well, but at the core, I want the readers to feel happy and healed, so I consciously try not to include stories that are too heavy, have a painful development, or have a villainous character.

─ We understand that this is your first serialized work.

Shimizu: I used to draw short stories with scenarios, but this was my first full-fledged serialization.

─ Did you decide to make a work set in a café because you like cafés and tea?

Shimizu: When I was originally thinking of a project, one of the editorial staff suggested "how about a café story," and since I also like to eat, I started thinking of a gourmet work. At first, I had an image of a Western-style cafe, and when I created the character, I was thinking of a shirt with a black vest and a garçon apron, but halfway through, I thought that a flowing kimono would also be good, and from there I changed it to a Japanese style taste.

──Did you always like "Japanese" things? What do you think is the charm of "Wa"?

Shimizu: I liked kimonos and Japanese motifs. I think the charm of Japanese culture is that the four seasons are very important, as is the case with kimono and Japanese food and confectionery. I try to be somewhat conscious of the seasons in my work.

─ ─ As this is your first serial, I imagine that you must have a lot of trouble coming up with a story. How do you come up with the stories?

Shimizu: It's hard to come up with a story. I always consult with the person in charge of the story, such as, "Let's make sisters this time," "Let's make office workers this time," and so on.

───Do you decide on the food that will be the key item in the story first?

Shimizu: Food is often the first thing to be decided. The character is decided first, then his/her problems are decided, and then the food to solve those problems is decided.

─ Do you come up with the dishes that appear in your works?

Shimizu: I discuss the sweets and dishes for the next theme with the person in charge, and once the general shape is decided, I consult with the food coordinator for specific recipes and supervision of the food that matches the story, and receive materials from them. I always use these as reference for the photographs.

─ Do you actually visit cafes and use them as references for your works?

Shimizu: I live in a rural area, so I don't get to visit many cafes, but I draw ideal cafes that I would be happy to have nearby. I also like Japanese sweets, but I don't think there are many places where I can easily eat Japanese sweets such as nerikiri, and I wish I could eat them easily, so I use them in my work.

──Can you tell us how thefour maincharacters whosolve your problemscame to be?

Shimizu: It was a long time ago, so I don't remember the details. From there, I think we added characters like the leader, the energetic one, the tsundere-like one, and the quiet one... and so on.

─ Do you have a favorite character or a character that you have a strong emotional attachment to?

Shimizu: I don't have a favorite character for the four main characters, they are all equal and all important. Sui is the axis of the story, but I haven't decided on him as the main character, so I try to draw him in a well-balanced way. As for the sub-characters, Kakuzaki is my favorite character because he leads the story and is easy to move around.

The longed-for anime adaptation that I have envisioned since the beginning of the serialization

───Then, how did you feel when you heard that this work was going to be made into an anime?

Shimizu: Ever since I became a manga artist, I had always dreamed of having my work animated, so first of all, I was very happy. However, I am a worrier, so I was also worried about whether I would be okay with this work.

─ ─ What did you mean when you said you were "fine"?

Shimizu: The original story is still in the middle of its development, so I am not sure if the audience will enjoy it as a story or as an anime. Still, I was happy that my dream had come true.

───Did you have any concerns that were resolved after talking with the director and staff?

Shimizu: When I met with the staff, I felt that they had read the work and loved it very much. They understood the themes and characters of the work, and I felt assured that this would be a wonderful work that would surpass the original work.

─ You mean you felt a sense of security, but were there any points that you requested "don't change this one thing" during the meetings?

Shimizu: The story of Sui (Kyousui Togoku) has a serious element because it is the core of the story, but I hoped that it would not be too heavy. I was worried about that when I heard about the idea of making an anime. However, when I actually talked with the directors, they all understood that the story would not be too heavy and that it would be a work that would be comforting, so I felt that I did not have to say anything. I felt that I didn't have to say anything about that.

─ Mr. Takuya Sato, the sound director for this production, is a person who corrects the dialogue.

Shimizu: When I first heard the test performance, I felt that the nuance was a little too strong, or that it was too strong for the character, but the sound director gave me precise instructions, such as "You should hold back a little more on that part. I was impressed by his sense. I think you can only do that if you know the character well.

─ ─ Mr. Takuya Sato is an animation director who has directed "STEINS;GATE" and "Like it, I like it. He told us that he was also involved in the project as an advisor since this was Kamiya's first time making a feature-length anime. I can see all the way through to the final picture, so I guess I have a great sense of security.

Shimizu: I really can't complain about this anime adaptation. I think it is better to have the anime take on its own color, so I don't think it needs to be completely based on the original work, but I think you have a very accurate grasp of the characters.

─ I understand that you visited the recording studio several times, but from your perspective as a manga artist, what does the studio look like?

Shimizu: Manga is a solitary process where you only communicate with the person in charge of the manga, but with animation, I felt that many more people are involved than I had expected. I was also happy to know that the staff and cast were really thinking about the work.

───How was the atmosphere at the postrecording studio?

Shimizu: I was overwhelmed by the atmosphere. There was a lot of polite conversation, but when I listened to it, I felt as if I was actually in the restaurant and was being treated as a customer, and my ears were healed.

───The cast members who provide such healing to our ears are all gorgeous.

Shimizu: They are all fearless cast members, and when I first heard about them, I was trembling (laughs). They were very precise in their understanding of the characters, and I was able to learn a lot from them.

─ ─ Furthermore, there is a culinary designer on the animation staff this time.

Shimizu: I haven't had a chance to talk to him because I haven't had much time, but all the dishes are very well drawn, so you can expect a lot from this anime in terms of food, and I think it will make the viewer hungry (laughs).

─ ─ In the anime, the dishes are even more colorful, aren't they?

Shimizu: Manga is inevitably in black and white, so I feel that this is a unique aspect of anime that can only be seen in color in the anime. The salmon roe, for example, is so glossy.

─ ─ Are there any dishes you are looking forward to?

Shimizu: Neapolitan was a big hit with the readers, so I think it will look great in the anime.

──What do you think is the highlight of the anime from the original author's point of view?

Shimizu: The way the characters talk to each other, and the way the conversations are presented in a way that shows the relationships between the characters is very good. Ono-san, who plays the role of Gure, and Yamashita-san, who plays Tsubaki's role, have a great sense of teamwork in their fast-paced dialogue, which is very fun to listen to. I think that the congenial tempo and the calm atmosphere of the conversation in the more relaxed scenes is something that is unique to anime, and it makes me want to keep watching and listening to their conversations.

───There are some conversations that are unique to anime, aren't there?

Shimizu: There are some behind-the-scenes stories that would have been cut out of the manga due to the length of the episode, so I think the readers of the manga will enjoy those as well.

───Can you tell us what you think about the cat "Kinako" that you heard during the recording session, without spoiling anything?

Shimizu: I think "Kinako" would be too cute if played by a female voice actor, but Kohei Amasaki did a great job of portraying Kinako's slightly vacant and glazed-over features, which are typical of her. It really fits the image of Kinako!

─ ─ I am very interested in Hagure's latte art in this work.

Shimizu: I was wondering what would happen to the latte art, but I was surprised to see how well it was reproduced (laughs). I think this is one of the highlights of the anime, so please look forward to it.

─ ─ Once again, what are your impressions of the anime?

Shimizu: I usually have a lot of trouble coming up with ideas and developing the storyline, but it is because of the support of many people that I am able to create this work, and I think it is thanks to all the people who have supported me that I have made it this far. I am very grateful for the wonderful staff members who have helped me with the animation, and I am very thankful for everything.

─ ─ Finally, could you give a message to the people who are going to watch the anime?

Shimizu: The director and all the animation staff really took great care in creating this work.

I think there are many things to see in this work, not only the depiction of the characters, but also the gourmet scenes with delicious-looking food and sweets, atmospheric background art, realistic sound effects, and so on. Basically, the production is faithful to the original work, but there are also many original anime effects, dialogues, and episodes, so I think readers of the original work will enjoy it as well. I would be happy if you could enjoy watching the anime in a relaxed atmosphere, as if you were snacking on something sweet!

Thank you very much!