Category: Interviews

[Interview] Natalie – Yuukoku no Moriarty – Saito Soma x Sato Takuya x Kobayashi Chiaki – Afternoon Tea Experience Report

Published: 2020/12/10
Original URL: https://natalie.mu/comic/pp/moriarty02

Features:
Saito Soma (William James Moriarty in Yuukoku no Moriarty)
Sato Takuya (Albert James Moriarty in Yuukoku no Moriarty)
Kobayashi Chiaki (Louis James Moriarty in Yuukoku no Moriarty)

※This is a report + interview on the “Afternoon Tea Experience” that was filmed as bonus footage for Vol.2 of the anime’s BD/DVD release.
※※Due to visual similarity between Saito and Sato, I switched to using first names outside of direct quotes.

Saito Soma x Sato Takuya x Kobayashi Chiaki
Afternoon Tea Experience Report

A few days before the TV broadcast of Yuukoku no Moriarty began, Soma, Takuya, and Chiaki gathered at a certain location—Salon “Three Tiers”, a inconspicuous hideaway in Meguro, a residential district in Tokyo. On this drizzly day, to coincide with the setting of Yuukoku no Moriarty, the three of them came here to learn about British-style afternoon tea.

First was the filming of the opening footage. The weather was unfortunate, but they said, “This weather is actually Moriarty-esque, right?”, “London doesn’t give the impression of clear weather”, “I can imagine nobles using umbrellas a lot.” They already had the friendly atmosphere of the three brothers.

It was their first time experiencing real afternoon tea, and they nervously went inside. First, the owner, Shintaku Hisaki, explained Three Tiers and the 80-year old Western house it inhabited, which is a registered cultural property. Faced with the historical building and the numerous furnishings inside, Soma murmured, “I want to live here…”

Five types of black tea were brought to the table. “Royal Wedding” makes an impact with its rose fragrance and bright flower petals. “Darjeeling First Flush,” which uses the first-picked leaves, has a clear astringency similar to green tea. “Farrer’s Lakeland Special” is notable for its small leaves, and is suitable for milk tea. “Elderflower” has the sweet fragrance of osmanthus. Lastly, there was England’s representative tea, “Earl Grey.” Soma began by smelling the tea leaves. It was such a diverse lineup that he had a different reaction to each one.

Next, Takuya and Chiaki enjoyed the fragrances as well. “It’s like the scent is coming straight to my brain,” Takuya said. He seemed to be relatively knowledgeable about black tea compared to the other two. “Simply enjoying the fragrance is nice too, right?”

Chiaki said he liked milk tea, and when he smelled each type of tea leaves, he gave honest reactions like, “Whoa!” “Oh, it’s completely different!” and “It’s a simple, nice scent.” Soma and Takuya seemed to enjoy his pure reactions.

After much deliberation, the teas they chose were brought to them. They tasted them and shared their impressions.

Soma was impressed, saying, “Interesting! It seems like the refreshing type for a moment, but then the astringency comes when it reaches your throat… This is really good. I seriously feel like I’m going to awaken.”

Next, Takuya said, “It feels like it showed me a different side of itself from when we first met. It has a slight astringency too… it’s not only sweet.”

“That sounds kind of lewd…” quipped Soma.

“Is that love?” continued Chiaki.

Chiaki’s comment was, “The fragrance doubled. It’s astringent at first, but then the mellowness comes out. You can enjoy the transformation.”

To find out which teas they chose, please watch the BD/DVD.

Then, the centerpiece of the day was brought before them: the afternoon tea set. The bottom tier had sandwiches, the middle tier had scones, and the top tier had colourful desserts. They were amazed by the beautiful sight.

The three listened earnestly to Shintaku’s explanation of each dish: the cucumber sandwiches which were considered a delicacy back in the day, the freshly baked scones that aimed to recreate the taste of England, and the compote and Mont Blanc made with plenty of seasonal fruit.

This being their first time having afternoon tea, Soma asked about table manners. Shintaku answered, “Japanese people worry about manners and etiquette, but when you ask British people, they say, ‘Can’t you start from anywhere?'”

Surprised by the answer, the three each began with what they were interested in. First, Chiaki reached for the freshly baked scones. He put plenty of jam and clotted cream on them and dug in, letting out a quiet, “It’s good.” Combining it with the tea, he declared, “I could have this for breakfast forever.”

Next, Soma said, “I think I’ll try the scones too…” but went for the beef stew instead. After one mouthful, he beamed happily, made eye contact with Takuya and Chiaki, and finished eating it while nodding silently. “The stew is good, but so is the pie that goes with it… I’ll introduce this to my diet.”

Takuya the sweet-tooth began with the desserts. Using the antique knife and fork to eat the small Mont Blanc, he said, “The cream is rich, yet the aftertaste is light…” He sipped his tea, smiled, and said, “It cleanly resets the palate.” Soma and Chiaki couldn’t hold back their laughter at his numerous words of wisdom.

They enjoyed their afternoon teatime to their heart’s content while talking about Yuukoku no Moriarty. “That was a great time,” “I want to come here every week,” they said, reluctant to leave. The filming concluded with Soma reflecting on the day and saying honestly, “I wish this would become a regular thing… I’ll be praying for the powers that be to do something. *laughs*”

Saito Soma x Sato Takuya x Kobayashi Chiaki
Discussion

“We learned a lot about Chiaki-kun today *laughs*” – Soma

—How was today’s filming?

Takuya: Ahh, it was a lot of fun.

Chiaki: I was purely enjoying myself, forgetting that it was work.

Soma: I knew about afternoon tea, but I’d never gotten the chance to try it, so this was a valuable experience. Also, personally, I was happy that the three of us got to film something together. It’s actually the first time for us.

Takuya: It’s the first time we’re all together outside of the anime recordings.

Soma: These days, even at the recordings, we can’t get the time to talk properly… I’m really glad that the three brothers got to spend this time together today. Eating together really does deepen bonds.

—Even though you weren’t eating from the same pot.

Takuya: It really does. It’s strange—eating the same flavours and sharing the sensation feels like the fastest shortcut to closing the distance on a spiritual level.

Soma: Also, we learned a lot about Chiaki-kun today. *laughs*

Chiaki: …What?!

Takuya: Yep, we did. *laughs*

Soma: I even asked your manager just now.

Chiaki: About what…?

Soma: “Is it okay for Chiaki-kun to be like that?”

All: *laughs*

Soma: It’s great for us, though. *laughs*

—During the Episode 1 screening, Kobayashi-san was the only one who could only appear in a video message. It was amusing how you two watched over him. *laughs*

Takuya: He was the only lively one there. *laughs*

Chiaki: I mean, you don’t appear as a video message that often, right? I didn’t know what the mood was going to be like there… *laughs*

“It was shocking when I added clotted cream and jam” – Chiaki

—Did anything particularly stand out to you from what you ate today?

Chiaki: It’d have to be the scones.

Takuya: They were extremely delicious.

Chiaki: I’d never eaten scones before, so I thought they’d be more flavourless…

Takuya: It was like, is this bread? A cookie? Which one?

Chiaki: Sweet but not sweet… It wasn’t an easy-to-understand flavour. But it was shocking when I added that clotted cream and jam. The scones themselves were already delicious, but eating them like that was a surprise.

Soma: What surprised me was that it was okay to eat with our hands. I thought it’d be more formal, and that we’d have to eat elegantly, but it was unexpectedly casual, if I can call it that. We were allowed to have fun, which let me savour it more genuinely.

Takuya: True, that was a big factor.

Soma: Also, when Shintaku-san gave us information like how cucumbers used to be a high-class delicacy… it made them taste “extremely cucumber”…

All: *laughs*

Soma: Learning those things was fun too.

Takuya: Cucumber sandwiches come up a lot in British novels, right? I always wondered why, but now I know. It was an extremely enjoyable and luxurious time spent, where we got to enjoy the country’s food, history, and culture. I thought about why the British value teatime so much, but realized that it must be because tea and food are important for building human relationships.

“I said that line without thinking” – Takuya

—I’d like to ask about the tea as well. You each chose from the five types of tea leaves, and I thought it was brilliant how Sato-san compared tea to a woman…

Takuya: *laughs* I knew about names like Darjeeling and Earl Grey, but I didn’t actually think about how different the tastes would be. There were five types prepared for us this time, and the differences were an unprecedented surprise for me. I said that line without thinking.

All: *laughs*

Takuya: I’m just saying whatever I want. *laughs*

Soma: I don’t drink a lot of black tea, but I liked the format of afternoon tea. I like being able to choose from different things, like obanzai or those sets where you can choose three small dishes. The restaurant also had a lovely atmosphere, and I’d like to come back many times. I also want to try the other types of tea.

Chiaki: I usually eat strongly-flavoured foods or box lunches from the convenience store, so I think my tongue has become less sensitive. But this time, I thought, “Maybe this is what true deliciousness is.” And though there was no alcohol involved, I really enjoyed drinking together with you two.

—Do you think that this experience will influence your future voice acting and character building?

Takuya: Extremely so. At the very least, I’m sure there’ll be a difference in the atmosphere when the three brothers are at home together.

Soma: In the tea-drinking scenes, I’ll have a definite idea of the taste, so the way I handle those situations will change.

“The drama and the realism are both depicted with care” – Soma

—Now then, I’d like to ask about the series as well. First, what were your impressions after watching the anime?

Takuya: Fans of the original manga may have been surprised that Episode 1 was an anime-original story. However, it was created to be an optimal introduction to the brothers’ stories. I think it was done to say, “This is what Yuukoku no Moriarty is like.” With only 30 minutes per episode, I imagine the director and the rest of the staff have a difficult time deciding which stories and scenes to show from the manga, but I get the impression that they’re making sure not to leave out anything important.

Chiaki: Manga and anime have different presentation styles, and there are directions and expressions that shine more in anime. In that sense, I think the anime is created in a way that you can enjoy it as an anime. Today we were given the opportunity to see and feel an antique building and furniture resembling England’s at that time, which made me realize that the anime depicts that era realistically. The director and the staff did a lot of research.

Soma: Exactly. (said in English)

All: *laughs*

Soma: It’s really as the other two said. I think the anime takes the manga’s essence and presents the appeal of Yuukoku no Moriarty in a different medium. Manga and anime each have their own strengths, and both of them show the series’ charm in their own ways. To give a specific example, “So when William is smoking, there is music in the background and feathers falling from the sky.” *laughs*

All: *laughs*

Soma: I think the drama and the realism are both depicted with care, so I hope you’ll enjoy it whether you’re a fan of the manga or you’re starting with the anime.

“William is a ‘Louis Protection Extremist'” – Soma

—One of the themes of this series is the bonds between the three brothers. How do you interpret the characters’ relationships in your acting?

Soma: Albert is an extremely sharp and capable person. Ever since he was a child, he felt uncomfortable with the world, but he couldn’t tell what exactly was the problem or what he should do. Then he met the young William, and the path was opened to him. To William, he’s the most trustworthy partner in crime. He thinks about things from the same perspective and can take practical action from a different position. In that sense, Albert is the brother who does the most actual work. On the other hand, Louis is a special person to William. I think that William has a “Louis Protection Extremist” side to him. *laughs*

Chiaki: *laughs*

Takuya: He can’t stay logical when it comes to Louis. *laughs*

Soma: William is prepared to face self-ruin as a result of using crime to reform the world, but he doesn’t want to get Louis involved. He wants to keep Louis away from uncleanness. So even though it seems like it’s Louis who admires William, William seriously cares about Louis too, in his own way. I think it’ll be shown in the anime later too, but their bonds deepen after Louis speaks his mind. The change in the brothers’ relationship is one of the charms of this series.

Takuya: I think that Albert is quite unusual. The three of them are on the criminal side, taking the lives of the greedy, arrogant nobles, but Albert grew up right in the middle of those nobles. He should’ve been raised to think that it’s normal for nobles to act like that, and not to question it. Yet, he felt that his world was crooked and even reached the point of thinking that it had to be destroyed. It wouldn’t be wrong to say he’s eccentric. If anything, he’s a dangerous individual. He experienced a form of divine revelation when he met William and Louis, and found his purpose in life.

—He found partners who he could trust.

Takuya: I guess you could say… he met a business partner who could turn his ideals into reality, with the actual results to back it up. He trusts William and Louis to accomplish his dream, but I think part of why it works is because they aren’t his real brothers. Since they aren’t related by blood, they don’t get overly reliant on each other. There’s an absolute sense of distance and tension between them, which I think is one of the curiosities surrounding the Moriarty brothers.

Chiaki: I agree that to Louis, there’s a sense of distance between him and Albert, because unlike William, he isn’t related to him by blood. But on the other hand, he does trust Albert. I think that William and Albert trust Moran and Fred to some degree, but Louis felt wary when Fred visited their house at night—he doesn’t really open up to others. In that sense, I think that Albert is the only non-blood relative that Louis trusts.

—And he has something resembling absolute trust towards William.

Chiaki: Right. If carrying out their plan meant losing William, I can’t even imagine what Louis would choose. His trust exceeds the realm of brotherly love. But that doesn’t mean he blindly believes William—at first I thought it might be better to voice him with affection towards William (though not to the point of having hearts at the end of lines *laughs*), but as I was reading the script, I saw that he asked William questions like, “What does that mean?” or “Isn’t that dangerous?” If he really trusted William wholeheartedly, it wouldn’t be out of place for him to accept everything without question, but he thinks about William’s words and voices his concerns. I think that Louis wants to protect William and Albert’s home in his own way.

“I’d like to go to a pub and drink beer from large mugs with Hudson-san *laughs*” – Soma

—By the way, are there any characters you like besides the ones you voiced?

Chiaki: I like William-niisan.

Takuya: So fast! It’s as if you’ve never changed from your first impression. *laughs*

All: *laughs*

Chiaki: I always answer that question with William-niisan.

Soma: …But what’s the truth?

Takuya: …Do you mean it?

Chiaki: I think that Jack is austere and cool, but… No *laughs*. I tend to get immersed in my role, so it’s easy for me to like the characters that my character likes. Regardless of gender. So William’s scenes catch my eye, and I end up following him with my eyes, thinking that he’s cool.

Soma: I see.

Takuya: I like Inspector Lestrade. He seems like he’s seen much of life *laughs*. He also prioritizes his own justice over his police work. He must have quite the mental fortitude in order to associate with a problematic person like Sherlock, and I also really like the human kindness he shows in not being able to do things coldheartedly.

Soma: I like von Herder. As for why, I’ve always liked that kind of unconventional character *laughs*. Also, Hudson-san. She’s very charming as a woman, and I’d like to go to a pub and drink beer from large mugs with her. *laughs*

Takuya: Oh, that sounds nice. In that case, I want Moneypenny-san at our office.

Soma: Ohh, I know what you mean!

Takuya: She’s very capable. *laughs*

“Will there be a swimsuit episode, as I hoped for at the Episode 1 screening…?” – Chiaki

—This feature will be published when the first cour has reached its climax. Please give us a message for the readers.

Soma: First, thank you for reading this far. At the time that we’re doing this interview, we’ve just finished recording up to Episode 8, and we’re enjoying encountering new mysteries, characters, and anime-specific appeals. Please enjoy the show that we’ve put 120% of our excitement into, and use the manga to speculate about what’s to come. We hope for your continued support.

Takuya: I’m always looking forward to every recording because of how fulfilling they are. The production team is also doing their best, adjusting every last detail to deliver the best that they can. We want to bring you a wonderful story and characters. I’m sure there will be various developments from here on out—after all, I never expected to be going for afternoon tea with these two today *laughs*—so please look forward to those as well.

Chiaki: The manga and anime present the story in different ways and some of the developments differ as well, but on the flip side, I think that means the people who read the original manga can also enjoy new things in the anime. And personally, I’m interested in what role Louis will play later on. Will there be a swimsuit episode, as I hoped for at the Episode 1 screening…? *laughs*

Soma: Yeah, it could be an anime original.

Takuya: It’s not a complete lost cause.

Chiaki: Right? It could even be a 5-minute anime. I won’t abandon hope. *laughs*

All: *laughs*

Chiaki: Well, I’m only half serious *laughs* but I think it’d be nice to have scenes where they take a breather. I’m looking forward to the story developments, and I hope the viewers will continue to do so as well.

[Interview] Newtype 2021/1 Edition – Hypnosis Mic -Division Rap Battle- Rhyme Anima – Shibuya Division Fling Posse

Released: 2020/12/10

Features:
Shirai Yusuke (Amemura Ramuda in Hypnosis Mic)
Saito Soma (Yumeno Gentaro in Hypnosis Mic)
Nozuyama Yukihiro (Arisugawa Dice in Hypnosis Mic)

※There were also interviews with the composers/lyricists/anime production staff and cast comments from the other divisions, but only Soma-relevant mentions will be translated here.

The human expressions peeking out from Shibuya’s deep chasm

—How was the impact of finally seeing Hypnosis Mic in animated form?

Shirai: Since it’s not just the hypnosis speakers that are shown, but also the damage they inflict on their opponents, it gives a sense of realism. It was a refreshing surprise to see how much of a “battle series” it was all along.

Saito: It’s made using an additive approach, with flashy enemies and flashy effects. Also, by adding visuals to the already-cool battles, it made me understand how rich the characters’ facial expressions were.

Nozuyama: The story is easy to understand too, so I think the anime will be a way to reach a broader audience, like elementary schoolers.

Shirai: Shibuya Division in particular is colourful, so you can recommend them to young children too.

Saito: The target age demographics are expanding *laughs*. But I guess it’s true that Shibuya Division’s catchiness makes them easy to get into. The anime has both radical innovation and traditional passion.

Shirai: Shibuya’s the only division that didn’t have a battle in Episode 1, though. They were rapping to make money. *laughs*

Saito: Well, Shibuya Division’s always been talking about money since the drama track from the very first CD.

—What did you feel in each episode with regards to your characters?

Nozuyama: As they’ve pointed out *laughs*, Dice truly never changes, or rather, it seems like he’s always borrowing money. I think the anime also conveys that he’s a “lovable idiot”—a troublemaker and the life of the party.

Shirai: Dice is an honest, good guy.

Nozuyama: Right! It’s great how he always gives his all! Seeing him animated made me think, “Dice really does love Ramuda and Gentaro.”

Saito: Similarly, Gentaro still randomly changes his personal pronoun and tone of speech in the middle of conversations, but I was also asked to tone it down from the drama tracks. In the anime, Ramuda and Dice are the energetic types, while Gentaro is a balancer who takes a step back and watches them. Personally, I feel that Gentaro’s aesthetics involve a love for pointlessness, so there are quite a few times where I add lines that aren’t in the script. It might be fun to think about where those are.

Nozuyama: Dice always falls for Gentaro’s lies, but in Episode 5’s ghost frenzy, even Ramuda got teased.

Shirai: It was surprising that Ramuda would be so afraid of ghosts. At first I thought he was pretending, but I was told to voice him as if it were serious, so the rap also has a fearful nuance.

Saito: It was true, huh?

Shirai: It’s hard to believe because of his “Black Ramuda” side. More of his true nature gets revealed with each drama track, and the anime compresses that, showing us several different expressions in a short period of time. He might not be very leader-like compared to the other divisions, but he was the one who chose Gentaro and Dice as his members. I think that their existences are what makes Ramuda a leader.

—How did you interpret the ending theme, “Kizuna -SHIBUYA ver.-“?

Shirai: It felt like there was a lot more of the echoing “kizuna, na” than the other divisions had.

Saito: Does saying “kizuna” a lot make it feel like “Shibuya-mi” (Shibuya-ness)?

Nozuyama: Huh? “Shibu-yami” (Shibu-darkness)?!

Shirai: It turned into darkness *laughs*. What I wanted to say is that Shibuya Division is a group of individualistic people, who originally had the weakest “kizuna” (bonds) of all the divisions. But that’s exactly why when you hear the word repeated so much and relate it to the drama tracks… it makes you think.

Saito: The really energetic calls you hear might be me *laughs*. I recorded some aggressive ones for the background, but after hearing what Shirai-kun just said, I wondered if it might’ve been because the “bonds” that Gentaro feels on the inside came out in the form of powerful sounds.

Nozuyama: It was tofubeats-san who wrote the song, an artist who has a lot of chill, emotional, sleepy songs—a style I’ve always liked. I thought it was perfect for Shibuya Division to sing. The fact that “Kizuna” rhymes with “Shibuya” already makes us different from the other divisions!

—What do you think Fling Posse’s strengths are?

Shirai: They’re all free and uncontrolled, but you can really perceive their humanness. I bet they’re the division that keeps you in the most suspense about how they’re going to turn out.

Saito: Since they’re ephemeral, like momentary glimmers, it makes me want to watch each and every one of those moments. Not much of their journey is told, but I believe that on their road to unity, their feelings have changed more than what they show outwardly.

Nozuyama: The “Shibuya darkness” that came up earlier is another one of their appeals, right?

Saito: The chill, emotional, sleepy “Shibuya darkness,” right? *laughs* All of the divisions are fun to speculate about, but since Shibuya’s members were so scattered at first, you fall deeper into them as more and more unexpected things come to light.

—Were there moments during the recordings when you felt your “bonds”?

Shirai: We’ve been working together for a long time and we trust each other, so the recordings go smoothly as long as I don’t do weird things to make them laugh.

Nozuyama: Ramuda goes from white to black, and Gentaro switches to old-fashioned speak or a woman’s voice. When they do ad libs there, we can’t help but laugh. When they don’t ad lib there, we naturally smile at each other with our eyes only, and I can feel our cultivated bonds there.

Saito: Shibuya Division rarely shows sentimentality, and similarly, we don’t really say publicly that we’re close friends. It’s kind of embarrassing, and it’s like it’s okay as long as we know it for ourselves. In that sense, I think it might be close to a familial relationship. When they’re making use of their strengths, I can feel safer than ever as long as I’m with them.

Nozuyama: Also, compared to other divisions that think, “We don’t want to lose,” we share the mindset of, “How can we make Shibuya Division better?”

Shirai: Yeah! That’s absolutely right.

—In Episode 10, sparks flew between you and Shinjuku Division’s “Matenro.” What do we have to look forward to next?

Shirai: Ramuda’s words were scathing, but he and Jakurai have a history between them. Those who only know him from the anime probably had their impression change, but for me, I had fun voicing him, thinking, “Yeah, yeah! This is Ramuda!”

Saito: Gentaro also went into a “battle mode” compared to his usual self. Returning attacks together is what makes battles so great.

Shirai: I don’t know how much Gentaro and Dice guessed of what Ramuda was trying to do, but their desire to play fair and square really got across to him, so everyone got impassioned. It was a good episode. Well, I didn’t really understand what “My luck is worth 100,000 luckies!” was supposed to mean. *laughs*

Nozuyama: What?! But that was Dice’s time to shine!

Shirai: Even just through the anime’s insert raps, Shibuya Division got to show a lot of their different sides. There are also anime-original plot developments, so please also look forward to seeing what Shibuya Division does while the rest of the battle goes on!

  • Yuki “T-Groove” Takahashi (“SHIBUYA GHOST NIGHT” compose/arrange) on the recording: “It was difficult to schedule because I was busy, but somehow I managed to be present for Saito Soma-kun’s recording. He’s truly amazing. With just a bit of rehearsal, he was able to do the recording in roughly one take—switching voices instantly on the spot! I was amazed by his range of voices, from ikebo to rough and hoarse.”
  • YUMA HARA (“SHIBUYA GHOST NIGHT” compose/arrange) on the recording: “I was there for Saito Soma-kun’s recording, and he’s amazing! Before the recording, we only had a temporary vocal track where some parts were just synthesizer melody, but once he sang it, the song came alive! I was awed at that moment.”
  • T-DOT (“JACKPOT!” compose/arrange/lyrics) on the recording: “Everyone’s OK takes came very quickly. I was surprised by how quickly they mustered their concentration and vocal power.”

Bonus: Unused photos & cast comment via https://kiki-voice.jp/pickup/1121

“I think that Hypmic began when a group of adults got together and excitedly went, ‘Let’s make something that hasn’t been done before!’ You can see it in the quality of every song and the room for speculation in the mysteries scattered about, and it’s become a franchise that many people have supported for a long time. It’s also fulfilling to be part of as a voice actor because it gives me a lot of new challenges that I’ve never done before, such as being a radio personality while in-character. Recently, all of the divisions have been singing songs that aren’t limited by their original style. In particular, Shibuya Division’s range of styles expanded after we sang ‘Stella.’ I also enjoyed the wide variety of insert songs in the anime. I’m sure the Hypmic team will continue to bring us exciting, new ideas, and we cast members will also keep doing our best to be, in Nozuyama-kun’s words, a ‘chill, emotional, sleepy’ team with ‘Shibuya darkness’… the context is in Newtype magazine. *laughs*”

[Interview] Ani-PASS #10 – Saito Soma – in bloom

Released: 2020/12/9

Soma was on the back cover and had a stunning 21-page feature. There is also a laminated artist card inside, as well a postcard that came with purchases from Animate.

※Since this is still a recent release, I will not be providing scans. The magazine is in stock on Amazon Japan.

I decided to stop following physical restrictions and personal rules

Q: Two years from quantum stranger, your long-awaited second full album in bloom is finally being released. Last year in December, you released the mini-album my blue vacation. Every December, Santa Soma delivers a present in the form of an album. *laughs*

Ahaha, you’re right *laughs*. My releases often end up being in June and December. After my blue vacation, I was vaguely planning a full album next, but while I was preparing a single for my third anniversary in June, the world fell into a pandemic, making it so that I couldn’t release a physical CD. In the end, I was able to release the tracks “Petrichor,” “Summerholic!”, and “Palette” (which are also on in bloom) as a series of digital singles starting in June. And then my album would be released in December. The releases have gone mostly as planned, which is a relief.

Q: It’s true that this year has been irregular in every way for the entertainment industry.

It really has been. But for me, there was a positive outcome in that I realized the advantage of digital singles. Normally, my albums always end up being released in December. That makes it really hard to include new songs that are based in the middle of summer. But through digital singles, I was able to link the songs to the seasons and release “Summerholic!” in summer. It’s really good that I was able to do that, since the digital single series was themed around seasons. For us creators, it’s more constructive to think about what we can do based on the current circumstances. Especially in this troubling time, I was able to proactively work on my music.

Q: You were proactive during the stay-home period too, right?

Yes. I bought a new computer for making music, as well as various tools.

Q: You composed and wrote lyrics for all of the songs on in bloom. Come to think of it, during the release interview for my blue vacation, you said that your demos evolved from singing to your own accompaniment to programmed tracks with an iPad and GarageBand.

Yes. And now they’ve evolved even further, to a computer and “Logic Pro”! *laughs*

Q: Finally, the addition of a true DAW (digital audio workstation)!

Indeed. Now I can express my ideas more clearly at the demo stage…and way more of my songs get scrapped now *strained laugh*. I have the production team listen to my idea sketches more often now, which means that there are more fragments that get rejected. But in that sense, it means that we’re working more like a band this time.

Q: Is there anything else that changed about your creation process?

One thing would be that I decided to stop following physical restrictions and personal rules. Before when writing lyrics, I had a personal restriction on myself to not use vocabulary that I already used in another song. But I decided to remove that restriction and not be afraid to use what I felt was most appropriate for each situation. But on the other hand, this resulted in “a restriction of not setting restrictions,” or “a rule to not follow rules,” which made things much more difficult up until halfway through production, especially when it came to writing lyrics. *strained laugh*

I was glad that I was able to write a standard guitar band song

Q: Which was the most difficult?

“Schrödinger Girl,” perhaps. I’m releasing eight new songs this time, and in April, I posted a video of a work-in-progress on Twitter and said, “I’m working on this new song right now!” Since the chord progression was based on Swedish pop, I gave it the tentative title of “Hokuou” (Scandinavia)… but I really could not come up with any lyrics for it *strained laugh* so I put it off for quite a while. The melody ended up having the dry feel of a band in winter, so I think it matches the season. This song was actually a candidate for the lead song until “carpool” was made.

Q: Really?

This time, I mulled over what to use as the lead song up until the very end. At first it was between “Schrödinger Girl” and a song that wasn’t included on this album, but neither of them felt quite right. I wanted the lead song to be a bit dark, something like Spitz or ART-SCHOOL, with a composition you’d see from a traditional Japanese band. I spent about a week thinking of new songs every night, when the melody of “carpool’s” chorus popped into my head. It’s an orthodox chord progression that I like. I quickly sent it over to the producer Kuroda-san and the arranger Saku-san. Saku-san replied with, “I can feel that this is going to be a masterpiece,” and we went through with it… The next day, I finished the song in a flash, lyrics included. It’s a really good song, if I do say so myself *laughs*. A lot of the songs that Saito Soma writes are niche. I intentionally hadn’t written songs that immediately grow on you like this one does, so I was glad that I was able to write a standard guitar band song.

Q: As with your other songs, “carpool” really feels like it tells a story.

I’m always happy that my listeners each visualize their own scenery, but personally, the keyword “carpool” makes me think of adolescence. Like The Notebook by Ágota Kristóf.

To the boy, his “bad friend” was like another version of himself. But that bad friend died in the sea, and after that, the boy felt like he was living out of sheer habit. Then, after growing up into a young man, he drove to the sea where his bad friend passed away. The driver’s seat used to be “your exclusive seat,” but now it’s “my exclusive seat.” And it ends with “I’ll catch up soon, so wait for me there.”

Q: The line that goes “You’re calling out to me from between the waves” is both nostalgic and profound.

Indeed *strained laugh*. That said, this is ultimately only my interpretation, so please don’t restrict yourself to it when you listen to the song.

Q: The song really is like a short film. Do you have a favourite line?

“I never wanted to know what lies beyond the sea’s horizon.” I think I wrote a really good lyric there. Kuroda-san was with us when the song was being mixed down, and when I tried to talk to him, he was so moved by that phrase that he shed tears. *laughs*

Q: It must’ve resonated with him. The MV takes place on a coast too.

Yes. It was filmed at the coast near Helena International Hotel in Fukushima Prefecture, where King Gnu-san’s “Hakujitsu” was filmed. I wanted to have a cut where I walked along the shore, just like in the lyrics, but it was right after a typhoon, so the sea was too stormy. It resulted in good footage though, so that was nice *laughs*. I feel bad singing my own praises, but it’s the first time in a while that I wrote a song that I’m completely satisfied with.

Q: In terms of being like a film, “Kitchen” feels more like a cut from everyday life than a story.

I struggled the least with that song’s lyrics *laughs*. Also, it wouldn’t have existed if it weren’t for the stay-home period. I’ve cooked for myself before, but I took this opportunity to get back into it and I bought a lot of appliances. I like casually drinking alcohol in my kitchen while making snacks to go along with it. One of the themes of this album is “delusions,” and this song is a fleshed out “kitchen drinker” delusion from my own experience.

Q: The chic bossa nova arrangement feels fresh too.

The song itself is from the hobby band I was in when I was a student, although the lyrics were written anew. The guitar chords are also my unique chords—they’re strange ones that take a long time to explain how to play. Also worthy of mention is that the rhythm section is made up of kitchen utensil sounds. I created sounds during the stay-home period and Saku-san sampled sounds from things like ladles. The snipping sound is from scissors, and there’s also the sound of a coffee grinder. It’s a playful toy pop song, and when you listen closely to the lyrics, it makes you think there must be something wrong with the protagonist’s head, which is fun too. *laughs*

Q: The unique vocal work that feels like it’s wafting in the air is lovely too. It’s perfect for the bossa nova atmosphere.

I often used to ask the engineers and technicians I met through work, “How does live singing differ from recorded singing?” I was told that I tend to be too loud in front of the mic. I was also taught that singing more softly would make the low harmonics resound more richly. So, I tried to sing softly for “Kitchen.” All of the vocals are double-tracked and I sung in an extremely relaxed way to get that floaty feeling.

Q: You didn’t establish rules for singing style either.

Right. So it was done quickly, probably in about five takes. We recorded “Canary” on the same day, but that one only took around two takes.

Q: That’s fast! “Canary” has a simple accompaniment centered around the acoustic guitar, and the swaying vocals are quite impressive.

I wanted to make the song feel ambiguous, and the lyrics have that kind of setting too. Up until now, I’ve enjoyed singing over and over again to achieve higher accuracy, but for this song, if my pitch wavered, I left it like that. I wanted it to be a bit distorted. Personally, I wanted to do whispery vocals like Elliott Smith.

The chord progression goes Em7, D, C. Everyone likes this kind of progression, right? I love it! It’s a simple composition.

Uchida Kirin-san, who also played the cello for “Rutsubo,” provided a beautiful, emotional solo. It stood out a lot against the stillness in the rest of the song.

Q: The lyrics are also a bit distorted. It feels like you’re drifting through an imaginary dream world.

A lot of the songs on in bloom blur the boundary between dream and reality, or delusion and reality.

Q: As with “carpool,” “Canary” also ends with unsettling words: “poison” and “I lose my senses.”

Indeed *strained laugh*. Actually, there’s a song that didn’t make it onto this album called “Rakuen” (Paradise), which I wanted to use as the last track. “Rakuen” is also about limbo—a place where people go when they leave this world that isn’t heaven. The song says that it’s the final paradise; the garden of beginning and end. I’m sorry for talking about a song you can’t listen to yet, but I think that that “interspace” feeling is present in all of the songs.

Q: The threshold between life and death, fantasy and reality… in bloom’s songs do have those themes. When I listened to this album, I thought, “Saito Soma’s gone all out!” *laughs* How does Saito Soma arrive at these songs?

Hmm… I think it has to be because I’m twisted in some way *laughs*. I find myself drawn to things with a sense of loneliness, though this doesn’t apply to everything, of course. So even though my stance of “not including personal messages in my music” hasn’t changed, I think the number of introspective songs has increased.

Q: You’ve always liked shoegazing music, which is characterized as introspective and floating, right? Since your heart and mind are free from restrictions now, it feels like you’ve dug deep into your true nature.

I really wanted to make “Isana” a shoegazing song. “Isana” is an ancient word for “whale,” and I included a guitar choke in the intro of the demo that sounded just like a foghorn or a whale’s cry. That’s where the whale motif came from, and I decided to sing about a Spaceship Earth-esque world view. So, I think the scope of the song is wider than my previous albums. It’s also spiritual.

Q: Whales are mystical creatures, right?

Indeed. I don’t know why, but they seem very sci-fi. And to me, they feel nostalgic. My mother is from a place that’s famous for whales, so I was very familiar with the word “isana.” And when my grandfather was driving, he’d talk about what happens to whales that stray into the harbour. Whales bring back fond memories for me. The “you” I sing about in this song could be a whale, or it could be something more cosmic… The song is also about the people in each of the in bloom songs. I think this song can be experienced in many ways.

Q: Since the album title is written in hiragana in “Isana’s” lyrics, it did feel like it was depicting a vaster world. And sound-wise, the arrangement was done by The Florist, a well-known artist in the Japanese shoegazing world.

Yes, it was Kuroda-san who introduced me to The Florist-san. My song “Kesshou Sekai” also had strong shoegazing elements, but it was still closer to guitar rock. For “Isana,” rather than going for a thundering sound, the arrangement used a thick reverb to create a wall of sound. There are also elaborate details in the sound. They also slowed the BPM quite a bit from the demo I first created, and said, “We might as well take it past 8 minutes!” *laughs* It’s long as far as pop music goes, but well, the Beatles’s “Hey Jude” is over 7 minutes too *laughs*. I hope that those who don’t usually listen to shoegazing music will find it a pleasant song and see what I was aiming for.

Rain fell upon the world that once ended, leading to the sprouting of new life in “in bloom”

Q: in bloom has a lot of reverb-heavy songs in general, right?

Yes. Saku-san said so too: “There’s reverb on basically everything this time!” *laughs* There’s also frequent use of chorus for spatial effect. “Schrödinger Girl” has chorus all the way through.

Q: It gives off an organic feel, though.

I think it’s because instead of trying to match the BPM exactly, I aimed to give it “fluctuation.” It also used a lot of live, unedited instruments. The only tracks that were fully digital were “Vampire Weekend” and “BOOKMARK.” Oh, but we had live guitar for both of those as well.

Q: “Vampire Weekend” is a light funk song. It gives off an urban scent.

I boldly used an existing band’s name for the title *laughs*. This song implements a strange structure in a different way from “Kitchen.” I made the demo on my iPad with GarageBand, trying the feature that lets you create a song by looping a resource. It’s a Western-style idea of repeating the same chords while changing the melody and creating a groove.

Q: Where did the vampire motif come from?

I was reading a book and it said something along the lines of “living like a vampire.” Vampires’ true nature may deviate from the norm, but instead of denying that they’re deviants, they pose as humans while possessing their own traits. It’s a form of life hack. I was inspired by that and made the protagonist a “vampire” who has an abnormal mentality of not being satisfied with their normal self. In accordance to that, the song’s structure is abnormal too *laughs*. I asked ESME MORI-san, who I worked with in Hypnosis Mic, to handle the arrangement. The guitar is by Morishii-san from Awesome City Club, which ESME MORI-san also provides music for.

Q: The vocals are sexy, too.

I made the lyrics more mature to match the arrangement. My favourite word in them is “damashiai saretai.” It takes “damashiai” (which means to deceive each other) and replaces the “ai” (each other) with “ai” (love). These five syllables “da-ma-shi-a-i” are layered with a whispering voice, and I hope you enjoy the “o-mo-te-na-shi” feeling it gives off *laughs*. I think it’s a danceable song, so the beat feels really nice when you turn up the volume.

(TL note: “o-mo-te-na-shi” refers to a presentation given by Takigawa Christel to the IOC when Japan was bidding for the Olympics. She used “omotenashi” (hospitality) as a key word and stressed each syllable individually, which left a big impression on Japanese people—who proceeded to do the same thing on social media with other five-syllable words.)

Q: The other digital track is “BOOKMARK.” What can you tell us about “J-san” who performed the rapping?

J-san is my friend. He’s not a professional musician, but he’s always been good at rapping and he writes music too. He wanted to try writing a song based on a guitar loop, so we made the track together. I already had the basis for the song itself from back when I wrote “Petrichor,” and when I passed it to J-san to do the arrangement, it came back to me with programming and rapping included *laughs*. It sounded really cool, so I asked the record label to include it on this album.

If you listen closely, you can hear the sound of pages flipping in a book, which relates to the “BOOKMARK” title.

Q: So that’s why there’s the sound of turning pages. It’s a stylish presentation. Are the lyrics about a protagonist who’s drinking alcohol?

Yes. It’s rare for me to be so direct, right? *laughs* This song is about a student who stayed up until 4 a.m. and is reminiscing about his youth. It’s about a once-real dream that is now a memory of the past.

Q: This song brings back authors’ names with the line “Kafka, Pelevin, Dick, Vonnegut.” The choices seem a bit student-like too. *laughs*

(Victor) Pelevin is the only one of these that’s still alive, though *laughs*. (Philip K.) Dick and (Kurt) Vonnegut were named because I remembered when J-san asked me for sci-fi novel recommendations, I said he should start with Dick and Vonnegut. That was what led to us becoming good friends.

These lyrics feel like a pair of drunk students having a pointless, immature debate. Like, “Was Dazai writing his stories seriously or abstractly?” *laughs* J-san and I wrote the lyrics together, and I think mine were a bit more nonsensical. I figured that since it’s students singing, I should tone down the rap part because they’d be too embarrassed to go all-out. It’s an early-morning song about someone around 20 years old, who says “I’ve woken up from my dream!” but is actually thinking that he really doesn’t want to wake up. *laughs*

Q: Perhaps that’s why he wants to put a bookmark there—he never wants to forget that memory. Finally, the last track of in bloom is the new song “Saigo no Hanabi” (Last Fireworks).

This is sort of a song about birth. I was allowed to do whatever I wanted for in bloom, and that had its advantages, but I didn’t really think any of the songs were catchy and easy to familiarize with on the first listen. This kind of contradicts what I was talking about earlier, but I wrote a j-pop style song with “happy end” imagery.

…That said, it takes some sharp turns, so you’ll be thinking it’s pop music when suddenly it shifts to rock. That non-straightforwardness is fitting for the end of this album, and I think I was able to write an interesting song.

Q: The lyrics are about fireworks even though it’s winter.

Yes. It seems impossible at first, but there actually are sparklers designed for use in winter. That’s really lyrical in itself. The person in this song is mostly likely setting off winter fireworks by themselves. So, they’re probably pretty eccentric. *strained laugh*

Q: A lot of the in bloom protagonists are people you can’t lower your guard around. *strained laugh*

The line “If a meteorite were to come down today” is conspiratorial…or rather, it’s an absurd thought, right? But that doesn’t mean there’s a zero percent chance of it actually happening. The line “The last fireworks fall in the winter sky” is made up of everyday words, and yet it feels out of place. The things that this person is saying and thinking could all be delusions, but there’s also the possibility that today really is the end of the world. Nothing is happening on a global level, but his personal world could be ending—it’s the scope of his thoughts. But since the ending goes, “Look, they’re lighting up again,” I hope that’ll ease your concerns *laughs*. It’s rare for me to include a message—and this isn’t really to the point of being a “message”—but I hope my feelings of, “Thank you for letting me release this album; I promise there’s more to come” will get across.

Q: Saito Soma’s world of music is unending.

Yes *laughs*. The title in bloom also has a strong nuance of “this is a good period of time” rather than flowers blooming. Up until my blue vacation, the world view was faded and decadent. In “Epilogue,” rain fell, and the rain continued at the start of this year’s “Petrichor.” Rain fell upon the world that once ended, leading to the sprouting of new life in “in bloom”. I hope you thoroughly enjoy this album.

Keyword Q&A

Q1. carpool – Where would you go on a drive? Tell us your recommended drive destination.

I’d like to see the autumn foliage, if there’s a place where you can still do that in December. If not, then… I never thought this at all before, but recently I’ve been wanting to visit the remote islands of Okinawa. I want to drive in a quiet, deserted place with sprawling fields… but I don’t have a driver’s license, so if a big-wig listens to “carpool” or reads this article and starts a TV or YouTube program where I get my license, you might see “Saito Soma is taking action!” *laughs*

(TL note: This is a reference to a phrase “(name) is taking action” which was popularized online by an entertainer.)

Q2. Schrödinger Girl – Schrödinger is associated with cats. Which animal would you compare yourself to?

There are a lot of animal horoscopes on the internet, right? When I did one, it said I was a black panther. Is it a dog or a cat? It’s called both, but I think it’s more often designated as a cat. Personally, I’d like to be a jellyfish, just floating around. That’s how I feel sometimes.

Q3. Kitchen – What’s your favourite part of cooking?

Huh?! It’s…obviously the eating part, right?! *laughs* If I have to pick a part of the actual cooking process, I think it’d be seasoning. When I get the seasoning just right, I think, “Yes!”

Also, while it’s not strictly part of cooking, I used to hate washing the dishes—but since I cooked more often during the stay-home period, I started to enjoy optimizing cooking and washing at the same time, thinking of it as a game. I like it the most when the food’s ready and everything’s clean at the same time.

Q4. Canary “This poison is a bit lukewarm” – Do you eat piping hot things as they are, or do you let them cool first?

I really have a cat’s tongue. I guess that’s why I’m a black panther? *laughs* The skin on my fingers seems to be thin too, so I’m sensitive to hot things. I love piping hot foods like ramen, though… Maybe I’m the type that doesn’t mind getting burnt. I want to eat delicious things in their best state.

Q5. Vampire Weekend – What kind of fantastical person would you want to become?

I would like to try being a vampire, but if I was going to become something… It’s not really a fantastical person, but something like a silicon-based lifeform? Or a data lifeform that can’t be confined to 3-D. Something that only exists on the net. I’m a sci-fi fan, after all.

Q6. BOOKMARK – What are your favourite types of alcohol or cocktails, and how do you like to drink them?

I often drink highballs at home. During the stay-home period, I bought a carbonated water maker because I wanted to make delicious highballs…but when it runs out of gas, you have to send it to the manufacturer for an exchange, and it’s annoying so I haven’t done it. Now I’m buying carbonated water from the store like a normal person *laughs*. If I’m not home, I like bottled beer in the winter. I like drinking it at diners and hole-in-the-wall Chinese restaurants. If they have Sapporo’s “Red Star” beer (Sapporo Lager Beer), that’s the best. It’s good to choose the right alcohol to go with your food.

Q7. Isana “Like a long film” – What’s your favourite feature-length film?

Stanley Kubrick’s works, perhaps. A cliche pick would be 2001: A Space Odyssey. The one I want to watch right now is Eyes Wide Shut. The film itself is great, and there are also a lot of fascinating stories revolving around it. I haven’t been able to watch many films lately, so I’d like to properly settle down and focus on watching some.

Q8. Saigo no Hanabi – Did you see fireworks this summer?

Fireworks, huh… I haven’t seen them or set any off in a while. When I’m out, I might hear the sound of fireworks coming from somewhere and catch a small glimpse of them, but that’s about it. So, I really want to try out the winter sparklers. Summer fireworks have their charm too, but I want to use the sparklers in the winter, when it seems like they can go out at any moment, while saying, “It sure is cold!” Since the winter air is crisp and clear, I’m sure they’ll be beautiful. I’d also like to use fireworks in a place covered in snow, although it might not be possible in Tokyo. I wonder if we can film a “Saigo no Hanabi” MV up north. *laughs*

Q9. in bloom – What’s your favourite flower?

Delicate flowers like violets are nice, but if I had to say, rather than lovely flowers, I prefer peculiar decorative plants like staghorn ferns, or bizarre ones like cacti and carnivorous plants. I often used to use cacti as a motif in lyrics, and the word comes up in “Reminiscence” too. Isn’t that unusual appearance great? *laughs* I like looking at plants, so I might use in bloom as an opportunity to bring some into the house.

Behind the Scenes: Soma-san appeared in two styles for us, one with a long coat and one with a white jacket. The first part of the photo shoot had him holding flowers in a garden, while the second part was in a room with beautiful lighting. There were so many wonderful shots that we struggled until the last minute trying to decide which ones to use and where to put them. By the way, the flowers in the birdcage are themed around “Canary.”

Bonus: Animate-exclusive postcard

Bonus: Off-shots from Soma’s stylist, Honda Yuuki

Extra

[Interview] MyNavi News – Hypnosis Mic -Division Rap Battle- Rhyme Anima Cast Discussion

Published: 2020/11/27
Original URL: https://news.mynavi.jp/article/20201127-1533653/

Features:
Ishiya Haruki (Yamada Jiro in Hypnosis Mic)
Komada Wataru (Iruma Jyuto in Hypnosis Mic)
Saito Soma (Yumeno Gentaro in Hypnosis Mic)
Kijima Ryuichi (Izanami Hifumi in Hypnosis Mic)

Mentioned:
Kimura Subaru (Yamada Ichiro in Hypnosis Mic)
Amasaki Kohei (Yamada Saburo in Hypnosis Mic)
Asanuma Shintaro (Aohitsugi Samatoki in Hypnosis Mic)
Kamio Shinichiro (Busujima Mason Rio in Hypnosis Mic)
Shirai Yusuke (Amemura Ramuda in Hypnosis Mic)
Nozuyama Yukihiro (Arisugawa Dice in Hypnosis Mic)
Hayami Show (Jinguji Jakurai in Hypnosis Mic)
Ito Kent (Kannonzaka Doppo in Hypnosis Mic)

—What were your impressions after watching Hypnosis Mic -Division Rap Battle- Rhyme Anima?

Ishiya: “They’re moving!” Having the characters animated meant that we could see their height differences, and seeing the city and the people living there expanded the world view. When I saw Ikebukuro Division in the anime, I thought, “This is the neighbourhood where the three brothers grew up.”

—What part of it made you think that?

Ishiya: The public order *laughs*. In Episode 2, Samezuka hears a cellphone ringing and says, “Whose is that?! Why isn’t your phone in silent mode?!” That line shows his goodness. Normally you would’ve expected him to say, “Whose is that?! Show yourself! I’ll beat you to death!”

Kijima: Seeing the other people in the neighbourhood makes it feel lived-in—it makes you feel closer to the world that the characters live in. In Shibuya Division, there’s another host, Uwabami, that talks a lot.

—I’m curious about how Uwabami and Hifumi would’ve interacted at work.

Kijima: The hosts probably fought amongst themselves too. I’d like to see a rap between hosts, although it seems like it’d be hard to make each of them unique.

Komada: Before the Hypmic mobile game came out, there weren’t many official illustrations. In the letters I received from fans, I could tell that the scarcity of official art gave them a lot of room for imagination. So when the anime adaptation happened, I thought, “Finally!”

Like Haru-kun (Ishiya) said, compared to the height numbers on the characters’ profiles, it’s easier to tell their height differences when they’re moving around on screen. Whether they’re glaring at each other eye-to-eye or one of them is looking down on the other is an important aspect. I think that the fans who have been supporting the franchise this whole time will discover a lot of things in the anime, some expected and some not.

—Did you make any discoveries, Komada-san?

Komada: From the numbers, I knew that Samatoki was a bit taller than Jyuto, but seeing them actually talking to each other, I thought, “So it really is like this.” I wasn’t satisfied with that feeling of being slightly looked down on, though. *laughs*

Saito: When I first watched Episode 1, I was impressed at how the rap battles showed coolness in various ways. They tried different presentations for each division and song, so I thought it’d be fun to rewatch the anime from different angles.

—The flashiness of the rap battles was well received.

Saito: Hypmic excels with the uniqueness of its setting and characters, so I think the Hypmic-ness permeates through the whole anime. Every episode has a lot of hooks that make me go, “Wait, can you hold on a sec?” and want to rewind 15 seconds. I think it’s a good match for the current era.

The character names that the cast shouted out were…

—Tell us your memorable scenes from the eight episodes that have aired so far.

Ishiya: At the beginning of Episode 1, when Jiro and Saburo come in. Ama-chan (Amasaki Kohei who plays Yamada Saburo) and I were talking about how happy we were that we got to say the first lines out of the 12 characters.

—Amasaki-san also said that he was happy about that.

Ishiya: Then in Episode 2, the scene where Ichiro is running to Jiro and Saburo. It was really badass and protagonist-like how he jumped over the wall behind them. There was a delinquent-ness to it too, like even though he was an ally, he had the coolness of an enemy.

Komada: Honestly, up until that scene I was thinking, “Ichiro, stop rapping and run faster,” but I forgave him when he arrived. He was cool.

Kijima: Something that was cool in Shinjuku Division was Jakurai-sensei’s narration at the beginning of Episode 3. “This is Shinjuku Division, where neon lights shine all night…” Hayami-san’s voice really gives it a lot of depth. The scene where Doppo screams and runs out of the apartment was awesome too. Who would’ve thought that a single roll of toilet paper could make someone scream like that?

Saito: That chain of events was funny.

Kijima: Also, it’s not a scene, but Episode 3 had ridiculously hard-to-say names. Mimimi and Uwabami… *laughs*

Ishiya: Mimimi is rough!

Saito: Honestly, I was glad I didn’t have to say it. *laughs*

Komada: That name is a voice actor killer. I’m sure that even though it wasn’t us saying it, we still shouted, “Mimimi! I can’t say that!” I was impressed that Kijima-san said it magnificently.

Kijima: Fortunately it was a good day for me, hahahaha! *laughs* It would’ve been fine if it was just “Mimimi.” But having words before or after it, like “Mimimi-san,” was a struggle. Another memorable scene as Hifumi was Episode 7 when he yells at Kazuha.

—That was the episode where Doppo makes a new friend named Rurikawa Kazuha, but it turns out that he’s using Matenro to get away with theft.

Kijima: “Doppo was truly happy to have made a friend! How dare you play with his emotions?!” I agreed completely with that line. But I remembered earlier on when Doppo and Kazuha were getting closer and Hifumi butted in, and thought, “It’s because you do those things that Doppo can’t make any friends.” *laughs* Well, he’s still a good guy. Doppo and Hifumi have built that relationship over many years.

Komada: As for Yokohama Division, the scene in Episode 4 after they solved the case was reminiscent of old anime, and I loved that. Rio apologizes to the other two for the trouble his former comrades caused, and Samatoki tells him not to because “It was our problem.” Jyuto also says it was a good warm-up for the division battle. It was a cliche way of brushing it off, but I really liked that old-fashioned exchange. I thought it was cute.

Also, Jyuto’s line in Episode 8. They corner his police coworkers who have been making trouble, and I loved his, “I’d expect no less from my respected seniors.” It made me go, “Jyuto-saaan!”

—Jyuto’s cruelness towards wrongdoers is very different from the way he treats Samatoki and Rio.

Komada: When he clashes with Samatoki, it’s as direct equals, so his coarse speech is simply reactionary. Against other villains, he generally looks down on them and wants to take the initiative. He talks in formal language as a way of pinning them down from above. Against Samatoki, he doesn’t try to hold on to the upper hand.

Saito: Also, I really like Rex… *laughs* I liked the scene in Episode 5 when the photographers were giving a food report on squid jerky, and the Shibuya Division members were like, “These people are dangerous…”

Ishiya: Why were those three eating squid jerky in Shibuya? And in the middle of a livehouse?

Komada: I wondered if squid jerky was soul food in the real Shibuya and looked it up.

Saito: I like scenes that feel like they’re doing their own thing, like in Episode 8 when Gentaro picks up the weighted dice, shoves them at Dice’s mouth, and tells him to bite them. First of all, Dice has incredible jaw strength, and second of all, why did Gentaro make him do that? *laughs*

—It was certainly an unusual idea.

Saito: Shibuya Division’s episodes are always comedic. Even the ghost story that Gentaro tells in Episode 5—when you listen to it calmly, you go, “Wait, huh?” because the part where you’re supposed to be scared is complicated.

Kijima: It was actually scary! *laughs*

Saito: At the recording, I think it was Shirai-kun? who asked, “What does this mean?” and I had to explain why it was scary *laughs*. But Ramuda and Dice were scared. The way the story was improvised on the fly without caring about consistency is very fitting for Shibuya Division, because they enjoy aimless conversations and idle talk.

—Moving from drama tracks to anime, was there anything you experimented with at the recordings?

Kijima: For Hifumi, whether his jacket is on or off is an important point. At the anime recordings I only had the script and black-and-white line art to work with, so there were many times when I didn’t know. I was constantly confirming with the staff. And there was a time when I was “wearing the jacket” during the test run, but in the real recording, I got carried away with the flow and forgot to put it on, so we had to redo that part.

—That’s something that could only happen at an anime recording. As for the characters, I’m assuming you used what you’d built up from the CDs?

Saito: Yes, we kept what we’d fostered so far. But in Gentaro’s case, I think his eccentricity was toned down a bit from the drama tracks. For Episode 1, I was told, “Don’t go as overboard as in the drama tracks; rein it in.”

—In the drama tracks, Gentaro throws people off by doing things like suddenly changing his personal pronoun to “maro.” In the anime, it seems more like he’s calmly watching over the rambunctious Ramuda and Dice.

Saito: I think he’s become the balancer between them. Even before, he could’ve been interpreted as a sensible person who was pretending to be eccentric. In the anime, we have the cute Ramuda, the teaseable Dice, and then Gentaro who’s one step behind them. I think it emphasizes them as the “cute, upbeat division.”

Ishiya: In that sense, Jiro’s also changed from the drama tracks. I wanted to have a bigger gap between the voice he talks to his big bro with and the voice he talks to Saburo and his friends with. In the anime, I was able to switch between them perfectly.

—What was the reasoning behind that?

Ishiya: In the anime, you can see Jiro’s physical build, right? Since he’s 180cm tall, I don’t think he would normally have the voice that he talks to his big bro with, which is the one in the drama tracks. That voice comes out because his mental growth hasn’t caught up with his physical growth, and it shows that he still has room to grow. In the anime you can see his body, so I wanted the viewers to feel that dissonance and room for growth.

The voice he talks to Ichiro with is quite forced for me. I wanted to make the gap bigger, so I did my best to tune my throat to be able to reach that vocal register.

Komada: For Jyuto, what I was conscious of in the anime was preventing the rap from sounding out of place.

—Out of place?

Komada: Jyuto is generally calm and collected during the story parts, but when he’s rapping, he has powerful high-tone attacks. Yokohama Division’s songs are interesting because we have the super low-tone Rio, the unrelenting mid-tone Samatoki, and the eardrum-provoking high-tone Jyuto. So, I can’t lower his voice. But I think that people seeing Jyuto for the first time will notice the big gap between his story voice and his rap voice and go, “Is this Jyuto-san rapping?”

—True, if you start with his calm personality then the aggressiveness of his rapping voice might seem too energetic.

Komada: That’s why I decided to use a wider key range for the anime. I didn’t want Jyuto’s voice to feel off during the rap parts, so I made sure to familiarize viewers with his higher range during the story parts too.

Heavy-hitting raps that surpass the words’ meaning

—I see, because a lot of people are experiencing Hypnosis Mic for the first time through the anime. New rap songs were produced for the opening, ending, and every episode. Did any of them leave a particular impression on you?

Saito: First off, I thought, “The opening theme is such a difficulty spike!” *laughs*

Kijima: Even for you, Soma-kun?!

Saito: It’s fast, right? It’s fast, but if you get caught up in the speed, it’s hard to express coolness. The chorus is belted out too, so there was the question of how much of each character’s personality could be presented.

Komada: The opening’s relay is by far the fastest we’ve had. It was probably a speed record for every character. We didn’t even get 10 seconds.

Saito: It’s a really cool opening theme. We’re fortunate to have a lot of people supporting this series, and instead of taking advantage of that to take it easy, it really feels like we have the guts to keep trying new things, and I thought that was cool.

Ishiya: Also, the ending theme was sung individually by each division, and Jyuto’s voice really pierces through Yokohama Division’s version, like, “ore-tachi no kizuna” “KIZUNA!!!” *laughs*

Komada: The mixing engineer adjusted it so that everyone was the same volume, but my voice is still too piercing, right?

Ishiya: Yeah, it has a clanging feel to it. “KIZUNA!!!” was in the Twitter trends too.

—How were the raps in each episode’s battle scene?

Komada: I want to hear about Episode 6’s rap from Haru-kun.

Ishiya: That was cool, right?! Colabintaro-san (Kimura Subaru) said that he wanted to win against the Electro DynaMonks so badly that he crammed more rhymes in than ever before. It was a really satisfying song for me and Ama-chan too.

Ikebukuro Division’s had refreshing fast songs, but this one was hardcore from the start with the guitar intro. We wanted to sing a heavy song like “DEATH RESPECT” too, so that wish of ours was granted.

—Do you have any stories to share from the recording?

Ishiya: My part was recorded second, and first was Ama-chan. When I listened to his part, his rap was unexpectedly forceful. Since it was so cool, it motivated me for my part too. Ama-chan is always scarier than I expect. He’s a mad dog too. *laughs*

Komada: For Yokohama Division, Samatoki’s lyrics in Episode 4 were pretty striking. “They can air such blatantly offensive lyrics on TV?!” *laughs* Being able to say this is one of the good things about hip hop.

—It was so direct that the words couldn’t be shown.

Komada: Then in Episode 8 there was Jyuto’s “I have on my side yakuza and ex-military, thanks for doing all the hard work for me” which had a great sound and was extremely fitting for Jyuto. They’re angry lyrics that conjure the image of him narrowing his eyes and looking down on his opponents. In that song, Jyuto and Rio name themselves, but Samatoki’s MC name is called by the other two. It shows the relationship between them.

Kijima: I like Shinjuku Division’s rap in Episode 7. It’s cool, right? Even the prototype song was so powerful that I wish you could’ve heard it. I think it’s a song that shows visually and audibly the scenery of Shinjuku and the people living and suffering there.

“Like mixin’ too many colors of paint together, this situation should be makin’ me high, but all I feel is low”—I don’t know why, but it hits me right in the heart. I don’t have the words to explain it clearly, though. Anyway, I really love the Episode 7 song.

—Hifumi’s rapping gave off a different impression than usual.

Kijima: Maybe he expresses his feelings differently since there’s a clear target for his anger? Since the rap comes at the emotional climax of the story, it felt similar to dialogue. There’s a part that wasn’t used in the anime too, so I hope you’ll listen to the full version. The scenery descriptions become more vivid in the latter half, so the emotions come off stronger too.

—As was announced a while back, all of the new rap songs will be released together.

Saito: I received the music files for the songs I was part of, but I’m looking forward to listening to them all together. We want the album too.

—Which Shibuya Division song left an impression on you?

Saito: I really love Episode 5’s song. Gentaro has a strong supporting role as a sort of storyteller, while Ramuda is scared of ghosts and Dice is just hilarious. The three of them go off in different directions, but come together in unison for the chorus. The song is 80s-like with a good beat. It’s a style of music that Shibuya Division hasn’t done before.

—Episode 8’s “JACKPOT!” was also a new, aggressive style.

Saito: At the start, Gentaro’s “I simply despise lies!!!” is really angry. At first, I said it normally and got the OK. But then I said, “Just for the heck of it, can I try saying it really angrily?” and recorded that. Everyone laughed and the staff said, “Okay, we’ll use the one that works best.” I thought it’d be the first one, so I was surprised that they chose the angry one.

—The outrageousness of the lie does suit Gentaro.

Saito: As I said earlier, Gentaro seems calmer in the anime, but then his humorous nature shows up at every turn. I was glad that they used that take.

Shinjuku are “professionals,” Yokohama are “artisans”

—Do you have any stories to tell from the recordings?

Kijima: Episode 1’s recording was before COVID hit, so we were all able to record together, but everyone naturally sat with their divisions.

Ishiya: The three food reporters sat together too.

Komada: When one person sat down, the other teams would leave two spots open around that person when sitting down. It made more sense than sitting apart though, because the dialogues were on a division-by-division basis.

Kijima: Shibuya was the only one that was scattered.

Saito: To be precise, only Shirai-san was in a different place.

Ishiya: Yeah, he really is a free spirit.

Kijima: He’s following Ramuda’s character, I guess. *laughs*

Saito: In a way. Nozu (Nozuyama Yukihiro who plays Arisugawa Dice) came pretty close by, but Shirai-kun would greet us from a completely different place, and stay there by himself until right before the recording started.

Komada: But once everyone else was sitting with their divisions, the only space left was with Shibuya, so he ended up going there. It was funny.

Ishiya: At the start of Episode 1, the four members of The Dirty Dawg were sitting in the front. Looking at them made me think, “Yeah, they’re strong.”

Komada: Just having Hayami-san in the middle tightened up the atmosphere.

Ishiya: Also, the dorayaki we were given as refreshments was good.

Saito: I think the cast of Hypmic gets along quite well. We’ve performed a lot of concerts together, so I feel a strong bond between us.

Kijima: We can’t have get-togethers anymore because of the COVID situation, and it was unfortunate that the recordings became split up by division.

Saito: Shibuya was often recorded after Shinjuku, and since they finished their recordings with room to spare, it really felt like they were “professionals.” They did their work efficiently, said their thanks, and left.

Kijima: Hayami-san arrives the earliest, so we can’t let it run late.

Saito: Is there a general order you always arrive in? For Shibuya it’s always Nozu first, then me, and Shirai-kun is always last. Because he does things at his own pace. *laughs*

Kijima: For Shinjuku, Hayami-san usually arrives first, so I try to go as early as I can. Ito-kun really takes his time. *laughs*

Komada: For Yokohama, there’s a high chance of it being Kamio-san, then me, then Asanuma-san.

Ishiya: For Ikebukuro, Subaru-san or I would be first, and Ama-chan was last. If Subaru-san wasn’t there early, he wouldn’t show up until the last minute. If Shinjuku are professionals, then Yokohama seemed like artisans. It felt like they put a lot of care into each and every line.

Komada: Yokohama often changes their tone of voice depending on who they’re talking to. Samatoki’s coarse voice has a lot of originality, so it took time to fine-tune it. We also had a lot of discussions about ad libs.

Ishiya: For Ikebukuro, Subaru-san had to record a lot of things (like CMs and episode previews), so we’d talk to the other division members while waiting for him to finish.

Komada: For the English episode names in the previews, Ama-chan and Nozuyama-kun happened to be before and after me, and they asked me for help with pronunciation. Since they have to fit their characters’ personalities, we discussed how to accent the words.

Ishiya: Jiro couldn’t speak English to begin with, so I didn’t ask for help *laughs*. When I first took English in middle school, I didn’t know how to read anything either and I pronounced “who” as “hoh.” I remembered that when I recorded my preview.

—In Episode 9, the Division Rap Battle in Chuo-ku will finally begin. Please give us a message for all of the fans who are looking forward to it.

Ishiya: The battle season has been reproduced in anime form. The interactions with other divisions show more of the characters’ natures, like Jiro getting riled up by Jyuto, and Rio’s childishness when he’s mad at Saburo. It deepens the world.

It’s a sprint until the finish line, so I hope it gives the feeling of running to not get left behind *laughs*. I hope you’ll empathize with the teams and characters while cheering them on. Also, I want a sequel! Please show us your support!

Komada: For those who think it’s hard to get into Hypmic because it’s been going on for a long time, I hope you’ll watch this anime. Episode 1 is constructed in a relatively easy-to-watch way, and even if you only watch the anime, you’ll know what Hypmic is. Even if you only watch the rap parts, or even if you start from Episode 9, I think that’s fine. Look forward to seeing Chuo-ku’s involvement from here on.

Kijima: Since the matchups are the same as the drama tracks, I think there are already a lot of exciting, touching moments etched into our minds. How will those grand fights be depicted in the anime? Let’s get excited over them again together. I think Hypnosis Mic is a series where we can all get heated up together, pumping our hands in the air in front of the TV screen. The cast is heading into the fray now, so please keep up with us!

Saito: The major difference from Episode 9 onwards is that the divisions are clashing with each other. The battles will get more exciting, so please look forward to them. Each division gets their time in the spotlight, so please watch closely. Shibuya had a lot of happy and humorous scenes up until now, but you’ll be able to see a more serious side of them in the upcoming episodes. Please look forward to seeing that gap.

[Interview] Aoi Haru no Oto ga Kikoeru Vol.2 – Cast Interview

Original URL: http://www.team-e.co.jp/spica/aoharu/special.html#vol2_03
Published: 2020/11/25

※Only Soma’s interview has been translated in this post.

Q: Please tell us your impressions of the story after reading the Vol.2 script.

When I read Vol.1 I was eager to find out what happens next, so I first absorbed myself in reading Vol.2. Iriya talks more with his group and with Ayato, which was refreshing. He’s surprisingly cold to Ayato *laughs*. The reservations between Nao and Ayato are making progress, but on the other hand, new problems are cropping up with Iriya, Ibuki, and Ren… Anyway, I really want to read the next volume. I’m also interested in Nao’s singing! I want to hear the final product soon!

Q: Please tell us your impressions of the recording (what you felt was difficult or enjoyable about voicing your character).

This time I couldn’t record with Nao and Ayato, and I wish I could’ve, since Iriya had a lot of dialogues with them. Also, Iriya being who he is, his mental state has become more complicated from last time, and the non-straightforwardness was both difficult and fun. I think I managed to perceive his heart better than last time, and I hope I’ll be able to deepen that connection next time.

Q: This volume focuses on the relationship between Nao and Ayato. What did you think of it?

That’s the biggest highlight of this volume. For some reason I found myself empathizing with Ayato’s relationship with his mother in Vol.1, so I’m looking forward to listening thoroughly to how Nao softens Ayato’s stubborn heart and the wonderful things born from their clashes in the final product. It’s truly valuable to have a person like Nao who will confront you head-on. Ayato fought back, but in the end he’s touched by Nao’s pure feelings. It made me realize again how amazing Nao is.

Q: Which character left the biggest impression on you in Vol.2?

I’m still interested in Iriya, of course. His feelings have gotten more complicated from Vol.1, and they go back and forth quite a bit. I felt the complexity and fascination of this series. There’s also Ayato—I haven’t listened to the final product yet, but I teared up when I was reading his conversation with Nao at the end. I’m eager to find out how he gets involved with the rest of the characters in Vol.3 onwards.

Q: Please give us a message for the fans based on the story highlight of this volume.

The mystery presented in Vol.1 deepens, while other doubts are cleared… Quite a lot happens in Vol.2! There’s still a ways to go, though. I’m sure the remaining three will have their story told in Vol.3 and beyond. Anyway, personally I’m worried about whether Iriya will find solace! We cast members are also looking forward to how the five boys’ adolescence will progress. Thank you for your continued support!

[Interview] Weekly TV Guide 2020/11/27 Edition – Koisuru Voice! #74

Released: 2020/11/18

Features:
Saito Soma (William James Moriarty in Yuukoku no Moriarty)

Mentioned:
Ishigami Shizuka (William James Moriarty (Child) in Yuukoku no Moriarty)

※The questions were omitted from the published interview, so this will read more like an essay (but it was still an interview).

The character I voice, William James Moriarty, deplores 19th-century England’s corrupt class system and is trying to create his ideal country. He’s modeled after Professor Moriarty from the Sherlock Holmes series, and he’s depicted in an attractive way that skillfully and respectfully incorporates elements of the original. He’s not purely a clean-handed person; he also takes in dirty aspects. Nevertheless, he lives for the sake of his goal. I thought that was really cool, and at the same time, since he’s so mysterious, I wanted to learn more about him.

As an aside, when I was reading the original manga, I was quite shocked [by his lines] from the very beginning… Even now that I’m voicing him in the anime, I’m still constantly thinking, “Is he putting up a front, or is this how he truly feels? Is there a hidden intent behind this line, or not?” when I’m reading the script. At the recordings, I don’t really get any explanation about the intent behind William’s lines, so I have to sense the nuance myself. The number of everyday conversation scenes is increasing, showing us glimpses of William’s various faces, and I expect to get a stronger grasp of his character and how it differs in the anime compared to the manga.

William’s goal is to bring about revolution through crime, destroying the class-based society to create his ideal country. I think it’s his level perspective that makes him charismatic to both the aristocrats and the lower class. His liberal thoughts are very modernistic. The story is set at the end of 19th-century England, where the class system wasn’t so much a “system” but a “matter of course.” I think that recognizing it as a “system” and wanting to break it puts William far ahead of his time. His perspective is also incredibly fresh for that era—he doesn’t turn to crime out of self-interest, but he isn’t a saint either. I think it’s because he’s so different that he has the power to charm people.

Controlling the city through crime is a bold strategy, but the underlying ideology doesn’t feel that extraordinary when you look at it from our modern perspective. If he’d been born at a better time, I’m sure he would’ve chosen a path where he could bring more happiness to people without staining his hands. Thinking about it that way, it feels like this dark hero was created from a clash between a good citizen and the era he was born in.

As for what William and I have in common, I think people would say that we’re similar *laughs*. But I think in reality, we’re quite different? William has more of a “complex” charm. In the non-crime parts of the series, he shows surprisingly abnormal sensibilities, which is another thing I like about him. Even though we aren’t similar, since I’m voicing him, I feel a sort of admiration for him. I really think, “This person is cool!”

Episodes 2 and 3 showed how William was different from the others even as a child. His child form was voiced by Ishigami Shizuka-san, whose performance was wonderfully persuasive. At the end of episode 3, there was a scene that was extremely shocking even in the original manga. I thought it might be difficult to depict it in anime form, but it turned out to be just as shocking and meaningful as it was in the manga. I was enthralled.

The anime is still going on. As a fan of the original manga, I’m looking forward to seeing who will voice Bonde. I also hope that the end-of-volume manga scenes depicting their everyday lives will be animated one day! They really bring out Louis’s charm. Seeing those scenes will increase your appreciation for the scenes in the main story where he’s drinking tea. I’d love to see them in video form, perhaps as picture dramas.

Q: What do you think is important for making your ideal into a reality?

Daily effort and forming connections. If you can’t normally do something, you’re not going to be able to do it on the spur of the moment. When a chance comes to make your dream a reality, whether you can grab it or not depends on whether you’ve developed the ability to by putting in steady effort. It’s also important to be able to sense what will bring about that chance… Signals exist in various places, but you need to point your antenna in the right direction to catch them. As for connections, treasuring your connections means treasuring other people. I think it’s important to understand that you can’t be complete by yourself.

Bonus: Promotional image from Weekly TV Guide

[Interview] TV Guide (Web) – Koisuru Voice! – Saito Soma in Yuukoku no Moriarty

Published: 2020/11/18
Original URL: https://www.tvguide.or.jp/column/column-497769/

Features:
Saito Soma (William James Moriarty in Yuukoku no Moriarty)

Mentioned:
Sato Takuya (Albert James Moriarty in Yuukoku no Moriarty)
Kobayashi Chiaki (Louis James Moriarty in Yuukoku no Moriarty)
Uemura Yuto (Fred Porlock in Yuukoku no Moriarty)
Terasoma Masaki (Argleton in Yuukoku no Moriarty)
Furukawa Makoto (Sherlock Holmes in Yuukoku no Moriarty)

—I heard that you were a fan of the original manga to begin with.

One of my hobbies is going to the bookstore and buying books based on their covers. When I saw volume 1 of the manga with William on the cover, I bought it, thinking “This looks interesting.” I also love the crime suspense genre, so when I read it, I thought “This is interesting!”

—The role of William was auditioned for, right?

When it comes to auditions, there are times when you just can’t win. Personally, I try not to expect too much. The more you want to play a role, the more frustrating it is when you lose… although it does make you stronger for the next one. For this series, since I liked the manga, it made me want to voice William even more. I actually overheard the screening process, and as the candidates got whittled down, I heard that I was still in the running and got excited *laughs*. In the end I was fortunate enough to get the role, and I was truly happy about it.

—What is your impression of the Sherlock Holmes series that Professor Moriarty comes from?

I definitely can’t say I like it the way that Sherlockians (passionate Sherlock Holmes fans) do, but I’ve read some books from the series. As for Professor Moriarty, I’m a big fan of Ohtsuki Kenji, who’s the vocalist of the band Kinniku Shoujo-tai. One of their songs, “Peten,” has a lyric that goes “Atop Reichenbach Falls” (the location where Holmes and Moriarty faced off), and that influences my impression of Professor Moriarty. Trying to control a city with one’s individual strength makes for a very intriguing perspective as a reader. Yuukoku no Moriarty’s William is a fresh take that shows respect for the Sherlock Holmes series. He’s really cool and a good match for the present era.

—William’s brothers are voiced by talented actors too—Albert James Moriarty, the older brother, is voiced by Sato Takuya-san, and Louis James Moriarty, the younger brother, is voiced by Kobayashi Chiaki-san. What did you think when you heard who you’d be starring with?

When I’m reading manga, sometimes I think, “This character seems like they’d probably be voiced by this person,” and sometimes I don’t. In the case of Yuukoku no Moriarty, I enjoyed reading the series without thinking too much about potential casts. When the cast was revealed, I thought, “They’re all first-rate…!”

Also, everyone gets their information so quickly. When I met Yuto-kun at another studio, he said “I look forward to working with you!” but I didn’t know yet that he was going to voice Fred Porlock *laughs*. I respect these cast members as both actors and people, so I’m really looking forward to what we’ll create in the upcoming dialogues.

—How is the recording atmosphere?

I’ve known Sato-san, who voices Albert, for a very long time. As for Chiaki-kun who voices Louis, recently we’ve been working together quite often. How do I put this… it really feels like having an older and younger brother. Both of them are very kind and calm, so our breaks have a relaxed atmosphere. At the episode 1 recording, I got a full grasp of how Albert and Louis were going to be, which was impressive. It started off with a scene of the three brothers talking, and it felt completely natural. I had a feeling that we were going to make a great trio, and that made me really happy.

Also, the guests are too amazing! In episode 1, Terasoma-san voiced the antagonist. I was floored by how he expressed so much with every breath in his ad libs. Battling incredible senpais with my reliable brothers was unbelievably fun.

—Furukawa Makoto-san voices Sherlock Holmes, who engages in battles of wits with William.

I’ve worked with Furukawa-san in a variety of places, but I think this is the first time our characters are facing off in this way. Furukawa-san is extremely skilled too, so I’m looking forward to it!

—Were there any directions regarding your acting?

There’s a line that goes, “I, crime consultant William James Moriarty, accept your request.” It was part of the audition too, and he’ll be saying it throughout the series. I thought it could go two ways: emphasizing it as a catchphrase, or keeping it in William’s gentlemanly tone. First I tried emphasizing it, but the sound director, Hata Shouji-san, said “It’s an important line, but sound-wise you don’t have to make it stand out too much.” I think we’ll continue to make these detailed balance adjustments as the recordings proceed. But besides that, I don’t really get told “Do it like this.” Instead, I analyze William’s thoughts myself and discuss them. I think I’ll be able to create something good that way.

—Lastly, what are you looking forward to in this series?

I don’t know which stories from the manga are going to be adapted yet, but I’m particularly interested in the ones where everyone executes a plan together. I’m also interested in finding out who voices Bonde! Each story feels as grand and fast-paced as a movie, and they’re all worthwhile watches, so please look forward to them!

[Interview] Weekly Shonen Jump 2020 #50 – Yuukoku no Moriarty Special Cross-Talk – Saito Soma x Sato Takuya

Released: 2020/11/16

Features:
Saito Soma (William James Moriarty in Yuukoku no Moriarty)
Sato Takuya (Albert James Moriarty in Yuukoku no Moriarty)

Mentioned:
Suzuki Tatsuhisa (Blitz Enders in Yuukoku no Moriarty)

—Your impressions of the manga?

Soma: I bought Volume 1 because I was attracted to the illustration of William on the cover. I think it’s wonderful how it adds bold interpretations to the Sherlock Holmes series, turning it into a crime suspense story that appeals to a modern audience as well.

Takuya: I first picked it up because of the audition, but I was so interested in the rest of the story that I bought all of the available volumes at once. I’m drawn to the way the characters are presented and how they’re compelled to turn to murder.

—How do you interpret William and Albert’s relationship?

Takuya: Albert resents his noble bloodline, but is bound to it against his will. To him, William is truly a divine messenger. I think that meeting William is what gave him his way of life. But I don’t think that the two of them want to know what the other is truly thinking deep down inside.

Soma: True! Albert is also the first person William’s met of that type, and I think he’s the best possible business partner for him. They do have brotherly love too, of course, but joining forces was a means to faster accomplish their goal of reforming the British Empire. Just like William, Albert seems to keep some of his power in reserve, which I think makes him more trustworthy.

—What do you think about the third brother, Louis?

Soma: Louis is cute!

Takuya: He’s cute, and I think he must have a hard time. *laughs*

Soma: William reveres him, and I think he wants to protect Louis’s innocence. Those unexpected times when he shows his attachment are touching too.

—What scenes in the anime left an impression on you, up to Episode 6?

Takuya: Count Enders is a refreshing piece of trash. *laughs*

Soma: He sure was mass-producing quotable quotes! Tatsuhisa-san gave it his all, and his acting was amazing.

Takuya: It makes you wonder, how did he interpret the script in that way?!

Soma: The character was already eccentric in the manga, but he left a deeper impression in the anime.

Takuya: His efforts are amazing in Episode 7 too, so please pay attention to them there.

[Interview] Weekly TV Guide 2020/11/20 Edition – Koisuru Voice! #73

Released: 2020/11/11

Features:
Saito Soma (William James Moriarty in Yuukoku no Moriarty)

※The questions were omitted from the published interview, so this will read more like an essay (but it was still an interview).

Yuukoku no Moriarty is a series I enjoyed as a reader of the original manga. My first encounter with it was at the bookstore. I saw the cover with William James Moriarty on it and thought, “This has an aura.” It’s a crime suspense story that takes place in 19th century London, and what’s more, William is based off of Professor Moriarty, the antagonist from the Sherlock Holmes series. I love this genre, and it’s appealing how William is broadminded—he isn’t fully good or evil.

The battles of wits further unfold when Sherlock enters the scene, and other talented characters appear at the right place at the right time, acting in accordance with William’s plan, with multiple operations taking place simultaneously. These get wrapped up cleanly at the end, making each episode feel as grand and fast-paced as a movie.

William’s role was decided by audition. I personally like this type of character so I really wanted to try voicing one, but it’s extremely rare for me to pass the audition for them, so I try not to expect too much. Because of that, when I was told that I passed, I was really happy.

William works in the shadows as a crime consultant with the goal of destroying the class system. In the early recordings, especially the anime-original first episode, I thought it would be better to depict him in a mysterious way, such that his full intent wouldn’t be clear to the viewers right away—his attitude could be interpreted as either amused or strict. I wanted people to think, “This is going to be an interesting story.” William’s full intent hasn’t been shown yet in the scenes recorded so far, so I’m going to think about him more and deepen my internal image of him.

Since William is a crime consultant, he gives advice to his clients. Personally, I’d say that I’m also more of an advice giver than a taker. I rarely ask people for advice. When I’m stuck on something, I can’t relax unless I solve the problem myself. I think there are two types of consulting: one where you want specific advice, and one where you just want the other person to listen. When someone consults with you and you interpret it as the wrong type, they might get upset… It’s important to consider their feelings carefully. So, when I’m giving someone advice, I make sure not to do it based on my circumstances alone. This is because of the responsibility that comes with saying something regarding the person’s life and feelings. In that sense, I fully understand that William advises his clients knowing what they’re thinking and what they want to do. That’s why I think he’s an elite consultant.

If I had William or Sherlock’s powers of perception, I’d also want to try being a consultant, albeit not restricted to the topic of crime. Discerning a feeling such as “I want to get rid of the fear I’m feeling right now” from a person’s gaze, breathing, and tone of voice, and accurately verbalizing it for them to help them understand their emotions… Right now, even if I could see that kind of feeling, it would ultimately only be a hunch. I wouldn’t be able to confirm whether it was true, and asking the person out of nowhere would be acting beyond my position. If I had William and Sherlock’s perceptive and communicative aptitude, I wouldn’t have to worry about misunderstandings. I could tell the person with confidence that “It’ll be all right.” I wish I could counsel people in a way that gives them a positive attitude. Even though I normally don’t share my worries with anyone, I’d like to receive that kind of counselling! If I’m given a precise answer and I think, “Oh, that’s right!”, I’d probably feel much better.

Q: Who do you find charismatic?

Generally, I don’t find myself wildly admiring anyone. Even when it comes to my favourite literature, I’m the type of person who sees the authors and their works as separate things… But if I had to give one name, it’d be Nakajima Ramo-san. I really love the worlds that he crafts, so in that sense, I might consider him a charismatic person. For lack of better words, I like how his works contain humour and pathos, and I’m fascinated by his way of life.

Bonus: Promotional image from Weekly TV Guide

[Interview] Seiyuu Grandprix 2020/12 Edition – The scenery changes – Saito Soma’s expanding world

Released: 2020/11/10

※Soma was on the front page cover and had a 12-page feature. There were also two shop-specific bromides.

※Scans not provided because the magazine can easily be bought digitally from sites like Bookwalker.

Throwback 2020

The situation made me realize that I’d become a captive to our ways

—This will be the second time in 2020 that you’re gracing the cover of Seiyuu Grandprix.

Thank you very much. It feels like it’s been quite a while since last time, but when I heard it was February, I thought, “It was still within this year!” *laughs* Still, it’s already been half a year…? It’s not just my situation, but the whole world’s that’s changed. To get straight to the point, even now, it still feels like the things I used to think were normal were actually things I was taking for granted. Before, it was normal to have thirty cast members sharing four mics at a sports anime recording, but now it’s too difficult. The recording environment has completely changed.

—Technique-wise, has recording become more difficult now that you can’t record in large groups?

In American cartoons, it’s standard practice for everyone to record separately, one by one. When you think about it that way, our environment up until now might’ve been a blessing. By the way, when foreigners see us switching in and out in front of the mics while voice acting, apparently many of them get surprised and go, “Ohh! They’re ninjas!” *laughs*

—That means that Japan’s voice acting technique is a culture we should be proud of! *laughs*

Now, we can’t really do recordings like that either. I’ve done recordings by myself in the past before, of course, but personally, I love the acting that comes from live dialogues. This situation made me realize that I’d become addicted to it.

—In scenes with a lot of room for movement, those dialogues can result in something more exciting than you imagined.

Exactly. I was forced to realize just how much I’d been receiving from others’ acting. By the way, in the past, I was bad at listening to other people’s lines. Rather, when you’re just starting out, it’s common to get too caught up in the idea of “I have to say my own lines right.”

—In your case, when did that weakness turn into an “addiction”?

To put it simply, when I properly received someone’s acting and returned with mine, I could sense that I’d succeeded in establishing a conversation, and that felt really good. I don’t think I would’ve noticed it if I’d always been recording alone, so I’m grateful for that. But right now, it’s hard to get the chance to notice that and change my responses accordingly. There’s nothing that can be done about that… but I think that by realizing this and reflecting on myself, I was able to make good use of this stay-home period.

—In these turbulent times, have you been talking to others about the current state of entertainment?

Yes! My personal impression is that there are a lot of people in this industry who are thinking seriously about what we can do and how we should continue going forward. If there are things we can’t do no matter what, then it’s important to proactively consider what we can do—we often talk about that.

—Many voice actors have taken this opportunity to entertain the fans with personal online streams and videos. Are you considering trying something like that?

My primary focus has always been on characters and works. I entered this industry because I wanted to add colour to them with my voice, and I don’t think that central feeling will ever change in my life. That said, today’s world is such that if you stick too closely to that principle, you won’t be able to expand your range of expressions. Ideally you want to be flexible, so I do want to take on expressing myself in various forms. Fortunately, I have my music career as an outlet for that. I think I’m very blessed to have been able to release three digital singles over the course of three months. Also, the stay-home period gave me a lot of time for input. I’m glad that I was able to prepare for my future output as well.

—You’re appearing in many anime this season, including ones that had their broadcast dates pushed back.

The recordings were all at varying times, and I can really feel that I’ve been given the opportunity to play a wide variety of roles. In EX-ARM which airs next year, I play an ordinary high school student who risks his life to save the world, while in Yuukoku no Moriarty, I play a young man who chooses the path of evil for the sake of changing the world… Since I’m playing a lot of unconventional characters, I’m spending more time thinking “What would this character do?” than I used to.

—In a previous interview, you said that you wanted to be associated with unconventional roles. Have you gotten closer to that ideal?

I hope so, but it’s rather difficult… *laughs* There are also more series that I’ve been involved with for a long time, like IDOLiSH7 which can be considered a stable franchise now. There are also works like Hypnosis Mic -Division Rap Battle- Rhyme Anima where, rather than explaining it, I’d rather you watch it first and get a feel for it yourself. In every work, the staff are trying to deliver the best entertainment they can in these circumstances, so I hope you’ll enjoy the fruits of their labour.

Soma Saito ✕ glamb

I aimed for simple clothes that I wanted to wear

—In October, you announced your collaboration with glamb, consisting of pullover knits, berets, and socks.

I like fashion, but I never would’ve expected that I could be involved with clothes in this way, so I was grateful and surprised at the same time. We had several meetings, and the end result was clothes you could wear in everyday life rather than ones that strongly looked like merchandise. A better way to explain it would be clothes that I wanted to wear. *laughs*

—Yes, when I looked at the lineup, I felt that they seemed like clothes you yourself would like. *laughs*

Right?! *laughs* When I first received the collaboration offer, they asked me to choose a brand too… so I requested glamb, a brand that I wear often for work and in my personal life, and they accepted right away.

—They’re warm items that suit the release date.

I considered a cardigan too, but ended up going with the pullover knit first. Then, they suggested an incredible number of materials and designs. They adjusted every little detail for me, such as whether or not the sleeves should be ribbed.

—The logo placement also felt like it was carefully selected.

If it weren’t for the logo, I think it’d be a simpler piece that you could wear more easily, but I had a selfish desire for something a bit unconventional *laughs*. I got to wear it myself too, and the size, material, and logo were all exquisite. I’m definitely going to wear it all the time!

—The socks make for vivid accent colours.

Socks represent an exquisite area—there are times when they aren’t visible, but then they peek out when you sit down. I think it’s nice to have a sense of playfulness for those times.

Also, the berets come in two colours: black which goes with everything, and a stylish beige.

—Berets always seem to match you perfectly.

Before I started this job, I’d never worn a beret before! The first person who put a beret on me was my stylist, Honda-san. Thank you, Honda-san! *laughs*

—Wow… I see!

I like simple clothes where the material feels good on my skin. Shape-wise, I think I’ve been wearing a lot of loose clothes lately. I generally like autumn/winter fashion, like shirts, knits, and cardigans. For photo shoots, I get to wear a lot of clothes that I normally wouldn’t choose, and that’s fun.

—What do you pay attention to when choosing clothes?

Whether clothes suit someone or not is important, but in the end, I think what matters most is what I want to wear. Basically, whether I’m committed to liking how I look when I’m wearing them. In the past, I had an extremely narrow scope for that, and I thought I could only pull off one specific look. I didn’t even think that hats or glasses suited me. But, that scope expanded bit by bit as I encountered new things.

—Did your view change because of doing photo shoots for work?

It did. Up until high school, I hated having my photo taken, but after having it become part of my job, I started thinking, “What feelings can I express when I’m wearing these clothes?” It was really fun, and it felt like it was the clothes that were providing me with that enjoyment.

So, I love encountering styling that I’d never imagined before. While I do value my own preferences, I also want to value things that aren’t to my taste. After all, if it leads to me liking it, there’s nothing more wonderful than that. This applies to acting too—I have more fun when others present me with things I hadn’t expected.

—I think that having those “realizations” enriches your life.

Sometimes the realizations come when I’m not in the right frame of mind, but I do prepare for them… Basically, I keep an open mind and put up an antenna for them. I think there are a lot of things I’ve realized this way.

This year in particular, I realized that many of the things I thought were normal were actually very special, and I should be grateful for them. For example, being able to talk to someone in person and laugh loudly with them was special. By the way, my latest revelation was that yakiniku and sushi are better eaten in restaurants *laughs*. Being able to wander into a store and eat all sorts of things is a special thing I should be grateful for. I want to be thankful for all of these “normal” things and treasure them going forward.

about Soma’s fashion

An interview with Saito Soma’s stylist, Honda Yuuki, who has gained the trust of Saito-san’s fans as well. From the way they enjoy choosing clothes together, we can guess that they have the same values. What’s his secret to maximizing Saito-san’s charm?

—How did you meet Saito Soma-san?

When I was working as a stylist’s assistant, my mentor worked with a number of voice actors, and Saito-san was one of them. I remember that when we first met, I really clicked with his opinions on clothes. Perhaps he remembered too, because when I went independent, my first job was from Saito-san, who requested me as his personal stylist.

—What do you focus on for Saito-san’s styling?

Our taste in clothes is extremely similar and our physiques are also quite close, so it’s easy to imagine outfits on him, which makes styling very easy as well. Plus, Saito-san has an androgynous aura, so he looks good in a wide variety of clothes. As a result, I end up bringing tons of clothes because I want him to try them all on. If it’s for a magazine shoot, then I prepare styles that feel more like “outfits,” but if it’s for an event, he likely has to use his voice a lot, so I focus on functionality—a loose neckline—and add in abstract elements of the role he’s playing… For his artist career, I go for a more sophisticated look. But, it feels like he picks the clothes I want him to wear, so as long as he doesn’t dismiss me, I’d like to continue having fun choosing clothes for him. *laughs*

—What were the styling considerations made this time?

Since he was going to be wearing the collaboration items, I prepared clean styles that would match them. For the one with the jacket, since it’s a magazine shoot, I included a lot of playful, fun clothes.

By the way, it wasn’t used this time, but I also brought something from a brand that Saito-san and I had clicked with before. It was back during my assistant days, and we both agreed that we liked that style. Saito-san remembered too, and he said “This brings back memories, right?” *laughs*

What are “kuumaA” and “glamb”?

kuumaA is a brand collaboration project where an artist (expresser) thinks of what they want and find interesting, and a brand supports them to turn those thoughts into special items. This time, Saito Soma requested to collaborate with glamb, a fashion brand whose concept is “grunge for luxury.” Their style is elegant rock and they’re known for their borderless ideas that aren’t restricted by conventional fashion.

“in bloom” series

Saito Soma composed and wrote lyrics for every song, shaping various worlds!

—Your second album, in bloom, will finally be released on December 23.

So far, in quantum stranger and my blue vacation, I’ve been releasing songs themed around “the end of the world.” This time, I wanted to depict the story of what comes afterwards. Prior to the album, in bloom was announced as a series of digital singles, consisting of the three songs “Petrichor,” “Summerholic!”, and “Palette.” The full album will be a collection of songs related to them that expand on the world views. Rather than having a single concept for the album, it’s more like the songs exist within the same overarching theme, but each represents its own unique story and lifestyle.

The main difference from my previous full album is that this time, all of the composition and lyrics were done by me. But rather than making it about me, I think the idea of “having one person present a different world view in every song” is an interesting experiment. Among these songs are lyrics with motifs that I wouldn’t have tried to use in songs before.

—Motifs you haven’t used before?

Earlier, we talked about “realizations.” There were many realizations I had that were only possible because of the coronavirus situation. For example, the song “Kitchen” came from that.

—It’s a bossa nova style song.

But, the chorus is like guitar rock with a sense of speed. I’ve actually had the prototype for this song ever since the time when I was in a band for fun, but it’s so distinctive that it was hard to find a place to use it… Also, normally lyrics come to mind together with the melody, but this song was the only one where that didn’t happen. However, due to COVID, I started cooking for myself again after a while of not being able to, and I thought “kitchen” might make an interesting theme. But the finished lyrics feel the craziest out of these songs. *laughs*

—It’s brimming with paranoia. *laughs*

“Petrichor” and “Summerholic!” were also subjective songs, but it’s even more prominent in “Kitchen.” It’s like the protagonist is cheerful about eating something, but when you look at him from an onlooker’s perspective, his behaviour is abnormal. What I can say is that you’d better not seriously try to follow the recipe in these lyrics. *laughs*

—The abstract lyrics feel very much your style.

Yes. If I restrict lyrics to a single meaning, I don’t feel much meaning from them anymore. Feel free to read too much into this song and think, “The kitchen is a metaphor for an alchemist’s workshop…” *laughs*

—What’s your impression of the leading track, “carpool”?

It was rather difficult to decide what to do with the leading track. The three songs from the “in bloom” series depicted the changing of seasons up until fall, and this album was going to be released in winter, so I wanted to use a darker song with a good melody… but I couldn’t come up with anything. When it was almost time for the MV filming and I was like “Oh no!”, that’s when “carpool” popped out. It’s an orthodox chord progression that I like, sprinkled with my vocals, and the arranger Saku-san and the others liked it too. Writing the lyrics was a struggle at first, but once the song was finalized, it went incredibly quickly. It’s possible that I was too hung up on the idea of “writing songs that are different from what I’ve done before” and that made me too fixated on logic. In the end, the lyrics and the melody are pop with a hint of darkness… It has an aspect that I haven’t had before, so I personally like it too.

—It’s interesting how composing songs based on intuition leads to discovering new ground.

It’s incredibly difficult to decide whether to compose based on logic or feeling… This time, I decided to write songs freely without any restrictions on myself, but I realized that that thought was already restricted by logic. By the way, “carpool” doesn’t have anywhere to breathe at all, so it’s ridiculously hard to sing. *laughs*

I’m interested in how they’ll turn out when I sing them live

—What about “Schrödinger Girl”?

Since I started doing more work at home, I bought a new DAW software. I used that to make a demo of a song called “Hokuou (Kari)” (Scandinavia (Temp)), which I posted on Twitter. The temporary name was that because the melody resembled Scandinavian rock bands. Every now and then, the fans would ask “What happened to that song?”, and at last, that song has become “Schrödinger Girl” *laughs*.

Even though it makes heavy use of bubbly, swaying effects, it became one of my fastest songs. But to tell the truth, it was also the hardest one on this album to come up with lyrics for… The recording was delayed, and I’d write lyrics while commuting. Looking back now, it’s become a fond memory *laughs*. The final result tells a clear story, which is rare for me. So, please listen to it and make your own speculations.

—“Canary” is a simple composition without many syllables.

I wanted to do a dark, whispery song like Elliott Smith (an American singer-songwriter). However, even though I like that kind of music, I had to consider whether or not there would be meaning in the voice actor Saito Soma singing it. But ever since around the time of my blue vacation, my desire to sing introspective songs had been growing. This time, I included one with the reasoning that it would expand my range. I hope the lyrics also make it feel like the singer’s consciousness is clouded in fog.

By the way, this song was only recorded in about two takes, and there wasn’t really any pitch correction or whatnot, so I think it really feels like it’s sung live.

—”Vampire Weekend” is another conspicuous song.

I haven’t been following set formats with my songs, but I think this one is by far the strangest structure *laughs*. It began when I found a sound loop in the DAW I started using and I wanted to see if I could make a song out of it. I played the looping sound through my tablet and sung along into a mic, in a haphazard digital-yet-analog way of making a demo. *laughs*

So, the original song sounded like a 70s “looping” song, but when I asked ESME MORI-san (who I worked with in Hypnosis Mic) to do the arrangement, he immediately turned it into the stylish song that we have now.

The lyrics give off a very different impression depending on how you interpret the meaning of the word “vampire”—I think they can also feel perversely humorous.

—At the time of this interview, some of the songs are still in production.

Yes. Please look forward to them… One of them is also an epic that’s over eight minutes long.

—Eight minutes?!

I was originally assuming it’d be around six minutes when I sent in the demo, but the arranger slowed down the tempo, so I figured I might as well make it longer *laughs*. I’ve always loved shoegazing (a type of rock music), and this song has that kind of feel. I hope you enjoy the wonderful flood of tones.

—There really is a lot of variation on this one disc! I’m sure many fans are hoping you’ll be able to sing these songs live one day.

Many of the songs have challenging aspects, like “Kitchen” which includes the sounds of kitchen utensils and “carpool” which will be difficult to sing live in one take [because of the lack of breaks]. So, I’m really curious about how they’ll turn out if I sing them at a concert. Considering my musical style, it’s also possible to use special production techniques on stage, so I’ll save the fun of figuring out the specifics for when the time comes!

This album really does have a wide variety of songs, so I hope you’ll listen to it over and over, savouring the sounds as pure “music.”

Behind the scenes of Saito Soma’s fashion

Saito Soma-san makes his second front cover appearance after the first one in the February 2020 edition! For this photo shoot, he wore the items he produced himself. The day of the shoot was the first time he put on the completed samples. They were designed for everyday use in the first place, but he seemed to very fond of the colouring and size, and said “I really am going to end up wearing these all the time” with a smile.

Also, since the interview was going to focus on Saito-san’s fashion style, we also interviewed his stylist, Honda-san. The outfit on the front cover was his freestyle styling. He always brings many different outfits with him. When he and Saito-san were choosing clothes, you could tell how close they were—they looked like they were going clothes shopping, saying things like “This one looks good too” and “I want to buy this one.” It was a harmonious start to the photo shoot.

We also interviewed him about his second album “in bloom” which comes out on December 23. It’s a must-read for fans who are impatiently waiting for the release!

Shop-specific bromides:

Off-shot from Honda Yuuki:

Extra:

The blue jacket Soma wears in one of the outfits is glamb’s GB0320 / JKT17 in Navy (¥38,500): https://www.glamb-lodge.com/c/jacket/0320jkt17