[EN]Interview with Yuuhei Murota - LoveLive!Sunshine!! TV Anime Official BOOK2

Original CN TL and Pictures: here



CN images: mitama_魂儿 CN TL: 伊波小鹿 (nyamazing)





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Character Design: Yuuhei Murota

A character designer from Sunrise. He took charge of the character design for the “LoveLive!” series, is also the overall art director, costume designer, and in charge of many other copyright (projects). His attitude of going full out in his work did not change as he worked on “LoveLive! Sunshine!!”



Aqours increases their camaraderie in the face of adversity. For every move that they had gone through, their gaze and expressions give the message of: “Girls that are truly living in the real world”. What are the feelings that Yuuhei Murota has towards the 9 girls being the key visual director of this project?





The girls grew while in the progress of being created. Considering the possibility that the 9 people in Aqours would continue growing, in the character designing process, an added element of being able to consider change was added. The school idols that were born when μ’s has achieved their dreams, carrying with them endless possibilities.





Q: How did Murota-san get involved in the initial planning phase of “LoveLive! Sunshine!!”?

Yuuhei Murota: Initially I heard that the background of the story was chosen to be staged at the rural areas, but at that time it wasn’t decided that I would be taking the role of character design. Initially it was serialized at Dengeki G’s magazine as well, the same when as μ’s was. I and a few other employees took part in the character selection event for Aqours* as well. At that time it’s also because the idea was because: “the sequel would have to generate a new buzz” and therefore we asked other sensei(teachers), while I was limited to only the role of the original character design. In addition, at that time I had the work on the movie version**, so I felt that splitting the work was a more reasonable decision.

*TL Note: In order to set the way forward for their personalities, an exercise held internally within Sunrise to hold a character selection event. They’ll decide on the personality and style of the Aqours members based on the selected proposal.)

**TL Note: The “LoveLive! The School Idol Movie” was released on June 2015. Aqours was announced on Feb 2015.







Q: So that is to say, initially Murota-sensei might have not taken the position of character design then?

Yuuhei Murota: That’s right, the results of the character selection exercise were announced, and my proposal was successfully accepted. But to me myself, I didn’t want to take on just the position of the original character design. Regardless of Aqours or μ’s, I do want to finish it personally, so during the project working period of the Movie version, I also accepted and took on the position of character designer. But at that time I already had the experience with μ’s, so the challenge curve for Aqours was very steep.







Q: What do you mean by the challenge?

Yuuhei Murota: It’s referring to: “when designing the character I must consider the possibility of change”. μ’s themselves grew along with the project, so at that time of design they didn’t involve the aspect of “growth”. But, for Aqours from the very beginning I considered: “From now on perhaps we’ll let fans see something unexpected, a different side of them” - this possibility. For example I intentionally avoided creating concepts like: “Genki Girls” or “A bookworm-ish model student”, I focused instead on being the embodiment of an anti-archetype (character) and balancing them delicately. Thus even if that character has lots of various sides of them, they would be able to meld into her image - and allow her to “grow and develop”, that was the goal of my designs.





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The first interview about the secrets behind the birth of the members of Aqours. So what are his feelings towards them?



Q: How were the designs of the 9 individuals finalized?

Yuuhei Murota: Firstly, all the members have their own individual design*, and thus I used this as a base to refine the character design that I had once established in the character selection exercise. At the same time, I tried to strongly emphasize the feel of a high school student in real life and made the corresponding choices. My main focus was that Aqours isn’t living within the story, but they are real girls living in Uchiura in Numazu.



*TL Note: Project “LoveLive! Sunshine!!” started it’s serialization on Feb 2015 on Dengeki G’s Magazine, it was helmed by Kimino Sakurako-sensei who drafted and decided the setup of each individual member.





Q: They definitely gave off a feel of living in Numazu! Then could you please share with us one by one their stories, starting with Chika.

Yuuhei Murota: She has the strength to lead everyone; I wanted to make her a different character from Honoka. In her physical appearance, I made it so that she won’t match with Honoka. With this as the basis, I put in lot of work to materialize the “simplicity” that she has as a girl who grew up in the rural areas.



Q: Is that referring to how a normal girl could become a school idol?

Yuuhei Murota: That’s right. As it wasn’t because of the region, there’s this reason too as it’s in the story. As compared to the members of μ’s, Chika is even more ordinary. From the perspective of this angle, I’ll pay attention to a balance of “cuteness” in the art and animation. She is a character that is very exquisite in her balance. I have to first consider how the team works first and how the animation process would be revising (her), and this part made me crack my head lots too

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Q: So as compared to Chika who was born in Uchiura, what about Riko who was born in Tokyo?

Yuuhei Murota: During the character selection exercise, among the girls that were already drawn/designed, the girl that suits the image of “born in Tokyo” was Riko. In the process of refining the submitted designs, I noticed an elegant feel of hers that comes from her life in Tokyo as well. Besides, her skirt being longer than any other girls is also to express this feeling of elegance. It’s to portray that although she has a very cautious side of her, but is still strong inside, so I used a slanted eye design to make her memorable to others.



Q: For the character, Kanan, is she born from the standpoint of the concept of: “Chika’s sister”?

Yuuhei Murota: Actually this was not established initially. I only noticed her mature appeal after I knew that she was originally (designed) as a sister. In addition, Kanan’s image of a “girl of the sea” was a charm that I tried to increase in the design and animation process. In the original designing process, I used the concepts of a dependable person with a contrasting drooping eye shape, by not following the template, but focused entirely on showcasing her personality. And in the backdrop of a Live, in order to add more aesthetics, I added the element of being a long-haired girl. I also amended it to a single ponytail in the pursuit of change.



Q: Next up, please do talk about Dia.

Yuuhei Murota: Having black hair and the image of a yamato nadeshiko for Dia was due to me receiving instructions from director Kisara (Yohei)’s wishes to have a “straight, long-haired character” first, thus I made the corresponding amendments. She has a bigger change as compared to the original submission in the character selection process. The mole at the side of her mouth was also added in because I felt that it had lots of character too. It’s great that the mole was used actively in the animation (laughs). Her frosty personality type was akin to a “diamond”, it’ll let people feel that fine but not luxurious density of hers.* The part that I spent the most work on should be the posture. She would always straighten her back, carrying herself openly like a true ojou-sama.

*TL Note: I believe it’s referring to how Dia is refined but imperfect too? I’m sorry – this tripped me up.



Q: Did you pay attention to anything with regards to how she (Dia) and Ruby are sisters?

Yuuhei Murota: To have a set of sisters among the 9 of them was established right at the start. From the designs that were submitted, the two’s personality and their aura were totally different, but in order to show the feel that they are siblings, I used the same eye color for the two of them. Ruby and Dia’s eyes have the same sharp angles/shape, this is the common ground for the Kurosawa sisters. During the second season, it is really great to be able to see Ruby’s growth and stronger will be displayed through her “eyes”.





Q: Indeed, in episode 8 of the 2nd season during the plotline of the two sisters, the fact that they had similar eye colors left a very strong impression on people.

Yuuhei Murota: Looks like having the same color definitely worked. Taking a step back, the two of them doesn’t seem like sisters, but after scrutinizing up close, you’ll unconsciously discover that: “they are indeed sisters”, that’s the feel that I was trying to achieve.



Q: Next up, please do share about You-chan. Does You, like Riko have some comparisons with Chika?

Yuuhei Murota: Rather say its comparisons; she is actually the other choice for who I initially prepared for as the main character. During the character selection, You was one that I strongly recommended for, and I was praised highly by the other staff (laughs) for that. She has a mop of short, realistic and stylish hair. I wanted to create a girl that was stylish, energetic similar to that age bracket. Although at the start, her hair color was brownish, but in the stage of finalizing the color it was amended to the current color. And she also had slightly slanted eyes but without an evil feel to it, that’s to show a feel similar to that of a cat.



Q: Her saluting pose is also very You.

Yuuhei Murota: For that, when I first started drawing the pose for the salute I didn’t think about that at all, this came entirely from her own charm. I didn’t think that this saluting pose would become so frequently used (laughs). As I kept on drawing, it became more natural.



Q: Yoshiko who lived in Numazu had differences from the members who lived in Uchiura, right?

Yuuhei Murota: Different from the other members who lived in plain Uchiura, Yoshiko does have a sense of mystery to her. But I totally didn’t think that I’ll make her into a “chuuni” (laughs). But adding “that” to what wasn’t established at the beginning, Yoshiko became even greater. Her initial design was to be mysterious, a beautiful girl who is a little ditzy in school. I thought that having 1 among the 9 members who is slightly off-tilt would be kind of interesting, so I only drew the bridge of her nose.* In order to let her hair have a sparkle to it, I amended to the length it is now. The bun however was something that was present at the beginning.

*TL Note: Probably referring to her initial character selection design.



Q: Next up, please discuss Hanamaru.

Yuuhei Murota: I designed her with the thoughts of: “someone that a guy would want to protect”. The bookworm image was also present right at the very beginning. Hanamaru belongs in the library; it’s an existence that people look forward to. Although she isn’t eye catching, but after getting to know her you’ll discover she is very adorable. That impression has remained from the start till now; I want to show the feel that she is the type that after you get to know her you’ll go all “moe” over her. For her arms and legs, they are portions that contain elements that boys will like. Although at the very beginning I’m shocked that for someone with that appearance would end up with a mouthful of dialect, but without noticing, this became ingrained within her image.









Q: Mari’s hairstyle is very special.

Yuuhei Murota: I considered that she was of mix-blood origin, so I felt that it wasn’t impossible for her hair design to have some personality of their own? I tried to direct everyone’s thoughts to consider: “How did that hair style get made?”, so I tried this design. And also, my impression of girls from overseas was that they would mostly expose their forehead, so initially Mari was like that too. But during the design refining process, it was amended to only expose half of her forehead. And, among the 9 of them, Mari has the most brilliant smile, so her mouth was drawn in that shape. It has with it the message of: “This girl is used to smiling, she’s able to intentionally express her own feelings”, that I used to complete her design.



Q: Finally, let’s talk about Ruby?

Yuuhei Murota: At the very beginning I thought she was a girl that was like a little demon, and in order to express the mischievous side of her, I used twin ponytails. But in the end it was kind of good to have it amended to: “The youngest among Aqours”. You never know, she might end up becoming a little demon-ish character in the future, or perhaps become like Dia. She’s a girl that lets one enjoy thinking about such possibilities. She’s different from Dia who is reliable, the sister is moderate, and has a feel that’ll let others protect her.

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Not just Aqours! The characters that debuted that made the story more fulfilling (+ dogs).



Q: Next up, we would like to hear you talk about the sister duo of Saint Snow please.

Yuuhei Murota: Appearing for the first time in the TV anime, it was a request from the director of: “I wish to have a very strong rival as a two man duo”. Especially in the eyes, the two of them have appearances that would let people feel that they are “strong”. To this end I created the two sisters with a feel of being hard to approach, but in the 2nd season, their relations with Aqours became closer, the audiences became closer with them too. I wanted to make their hair style have an impact that didn’t lose to the 9 of them (Aqours), so I used a purple that would leave an impression in the first place.



Q: Besides them, there are different characters that made their appearances right?

Yuuhei Murota: The way I designed Chika’s classmates, is actually similar to Aqours. Although the original intent was to make them even less noticeable than Aqours. But in the story, the impression that they are the comrades of the 9 members became even more pronounced, in order to draw a determined gaze, what happened was a gorgeous feel that didn’t lose out to Aqours themselves. It’s also interesting as the story developed, they gradually grew too.





Q: With Shiitake as the first, the dogs themselves have memorable and active ways of showing themselves right?

Yuuhei Murota: I discussed with everyone that: “Since animals are appearing, let’s decided on a docile and large breed that would decrease the load on the drawings?” before deciding on the character known as Shiitake. Although he did indeed move lots too (laughs). At the start the character’s breed was set as a “Great Pyrenees” breed, but in order to retain some room for the imagination, we amended it to be something more ambiguous and vague. For “ Wataame”* it’s because at that time I started raising two shiba’s who are called “Cotton” and “Candy”, so I used them as a base.* The design for “ Anko”* was done by Nishida (Asako)-sensei**. Prelude was due to how I feel it’ll be interesting if RIko started raising a dog, so I choose a pug.

*TL Note: Wataame/綿飴 is the puppy that is in the cafe they frequent. Which can also be called cotton candy. Anko is the true name of Laelaps.

** CN TL Note: In the TV anime “LoveLive!”, one who worked hand in hand with Yuuhei Murota on the character design, and took on the role of animation director. She was included in the staff roll as “Dog art director” in episode 5 of season 2. The design for Anko is based off Nishida sensei’s dog, Thanks to @yujachachacha and Stormseeker on Discord for the amendments.)



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An animated series that put in lots of effort in expression “expressions” and what is called a particular “instant”.



Q: Besides the characters, I would like ask you to talk about the costume designs for the Lives.

Yuuhei Murota: Among the designs that I did, the most impressionable one was “MIRAI TICKET”. This is the first design that I designed in “LoveLive! Sunshine!!”. Although I did have the intent to not really want to give any more suggestions for clothing designs after μ’s ended, but everyone felt that I really wanted to design this set of costume. So I put in some effort for it. Although the entire group of Aqours tend to lean towards blue in color, I choose to go the other extreme with red in order to let one feel the intent behind it. And the theme was “a musical”, so I wanted to make the members of Aqours even more refreshingly handsome. Not just the costume, I even amended the hairstyle a little, so in order to remake the entire CG was quite difficult.



Q: The hair style in “WATER BLUE NEW WORLD” also changed too.

Yuuhei Murota: Actually this set of costume could only be accomplished by me and the director begging the sensei’s responsible for the CG. I’m really very thankful for the CG team.



Q: Besides the character design, you took part in the animation in the position as the main art director, so are there any particular points in the second season that you would want people to pay attention to.

Yuuhei Murota: There’s many. Especially in 2nd season episode 7, when the school has been decided to be shut down and combined, when everyone was practicing, that moment when Chika smiled while crying. I hope that everyone would pay attention to Chika’s expression. I wanted to express to everyone the feelings that can’t be displayed through just words. When I was drawing this scene, even I myself felt bad, I thought to myself that this expression right here is a reflection of my style. In 1st and 2nd season, the many stern/serious scenes were my responsibility…. I do want to try to draw a happy and cheerful scene next time though.



Q: Just a smile could have many various feelings like love or sadness, right?

Yuuhei Murota: From the very beginning, Chika had many complex expressions, so I felt that doing so has much value in them. “LoveLive! Sunshine!!” tells its story through their eyes, I’m glad that this unique point was shown. For μ’s, they used their entire body’s movement to make one feel joy and their dynamism in them. In Aqours I wanted one to see their meticulous side. From this perspctive, it’s interesting to be able to make it seen the differences in how μ’s and Aqours express themselves. In this project, in order to increase the messages that can be delivered in the images, there’s lots of additional drawings to be done, so being the overall art director, the load is quite huge (laughs).



Q: Are there any other places in the TV anime that has a deep impression on you.

Yuuhei Murota: In episode 13 of the second season, the scene on top of the school’s rooftop. I wanted to use the concept of “relationships” to express the thought process of Chika before finding Riko and You and taking the next step forward. In a situation when they have a lack of time, the animators and the art director put in their all, allowing everyone to see a scene that depicts “relationships”. At that instant Chika felt that there was no way everyone could be there, she took a step forward while carrying those confusing thoughts with her. To be able to draw and express that instant when Chika’s expression changes, I felt that the staff did a great job.



Q: After listening to what you said, going back to rewatch Episode 13 would be even more interesting! So finally, please say something to the fans.

Yuuhei Murota: This is the age where I can hear everyone’s voices through the internet and social media; it really encourages me to receive comments like: “There’s worth in watching”, “The animation is adorable”. It creates the thoughts that made me want to continue drawing. So, really thank you everyone. Growing together with the 9 of them, this project will continue for a long time afterwards. I hope everyone would continue following and participating in “LoveLive! Sunshine!!” and make it even more exciting then.