―――There was a plan for Miorine to be from the corporate side, not a student?
Kobayashi: Yes, but that would have led to parallel but separate storylines for Suletta and Miorine, which was impractical for a two-season format. As we refined the content, we decided to base it on Shakespeare’s The Tempest. That set the goal – Suletta and Miorine would marry and become partners, and Prospera abandons her plans and vendetta to bless them.
―――The show seems to focus on parent-child relationships, like Suletta and Prospera.
Kobayashi: The initial goal was to portray individuals burdened with various curses, similar to heretics and witches. It wasn’t exclusively about parent-child relationships. Family and blood ties are important, of course, but real-life issues aren’t confined to just that. In retrospect, one of the lessons learned and challenges we faced was that the focus ended up strongly on the parent-child relationships, which left that impression.
[已完結] 機動戰士高達 水星的魔女/市之瀨加那 集中討論 (62) 三月又三月，幾時先有postcard 收？
DARLING水星海夢
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其他重點：
―――On the other hand, there’s no use of narration and minimal use of captions, right?
Kobayashi: We never planned to use narration. For me, I believe that auditory elements are crucial in film, sometimes even more so than visuals. So, put a lot of effort into balancing dialogue, music, and sound effects so that the story is clear even if you’re just listening.
結果開播初期有人話world building 唔掂
―――As we entered Season 2, the spotlight shifted to Earth and introduced the Space Assembly League as a new force. Did you always plan to show the world outside the school?
Kobayashi: Yes, that was part of the plan from the beginning. The setting of the Ad Stella era mirrors the Middle Ages before nation-states were firmly established, similar to the Kamakura period’s manorial system (a social system where temples, shrines, and nobles own and control land). In other words, powerful figures and clans owned and governed lands. This meant that powerful entities, like the Benerit Group, would have been vying for dominance, just like in those times. The Space Assembly League, being an administrative body, was inherently weaker and aimed to reduce Benerit’s influence.
Settings模仿鎌倉時代無政府狀態
―――On the other hand, there’s no use of narration and minimal use of captions, right?
Kobayashi: We never planned to use narration. For me, I believe that auditory elements are crucial in film, sometimes even more so than visuals. So, put a lot of effort into balancing dialogue, music, and sound effects so that the story is clear even if you’re just listening.
結果開播初期有人話world building 唔掂
―――As we entered Season 2, the spotlight shifted to Earth and introduced the Space Assembly League as a new force. Did you always plan to show the world outside the school?
Kobayashi: Yes, that was part of the plan from the beginning. The setting of the Ad Stella era mirrors the Middle Ages before nation-states were firmly established, similar to the Kamakura period’s manorial system (a social system where temples, shrines, and nobles own and control land). In other words, powerful figures and clans owned and governed lands. This meant that powerful entities, like the Benerit Group, would have been vying for dominance, just like in those times. The Space Assembly League, being an administrative body, was inherently weaker and aimed to reduce Benerit’s influence.
Settings模仿鎌倉時代無政府狀態
―――Was the development of Norea’s interaction with Elan (Enhanced Human No. 5) planned from the start?
Kobayashi: No, it wasn’t planned. Their interaction in Episode 13 inspired the storyline. There were quite a few characters who didn’t have predefined end goals. Elan, while based on the Cyber-Newtype of the Universal Century series, can’t escape the Gundam’s curse despite wanting to and is searching for how to regain the dignity of his own life.
―――Was Guel also a character you didn’t have a clear goal decided for from the early stages?
Kobayashi: Actually, Guel’s storyline was one of the few we had decided early on. His plot revolves around an immature struggle to define himself against his overbearing father, not overcoming this by losing his father but by choosing a path to build his own identity.
―――Was the epilogue, showing the world three years later, planned from the beginning?
Kobayashi: We decided to include an epilogue, but the specific timeline was determined later. The ending follows The Tempest, where Suletta and Miorine marry and become partners.
Kobayashi: No, it wasn’t planned. Their interaction in Episode 13 inspired the storyline. There were quite a few characters who didn’t have predefined end goals. Elan, while based on the Cyber-Newtype of the Universal Century series, can’t escape the Gundam’s curse despite wanting to and is searching for how to regain the dignity of his own life.
―――Was Guel also a character you didn’t have a clear goal decided for from the early stages?
Kobayashi: Actually, Guel’s storyline was one of the few we had decided early on. His plot revolves around an immature struggle to define himself against his overbearing father, not overcoming this by losing his father but by choosing a path to build his own identity.
―――Was the epilogue, showing the world three years later, planned from the beginning?
Kobayashi: We decided to include an epilogue, but the specific timeline was determined later. The ending follows The Tempest, where Suletta and Miorine marry and become partners.
―――Finally, could you share your thoughts now that the production is complete?
Kobayashi: For the main story, we managed to reach the intended conclusion based on The Tempest, with Suletta and Miorine’s endpoint and Prospera giving up revenge. I was prepared for mixed opinions since the ending isn’t clear-cut, with no definitive punishment for the wrongdoers. Another unresolved issue is the salvation of those burdened with hardships, and unwittingly, the sins of Prospera and the adults were passed on to Suletta, Miorine, and Shaddiq. It mirrors the real-world problem of younger generations bearing the burdens of their predecessors. Still, Suletta and the others will keep moving forward, but as an adult, I feel sorry that we couldn’t lay down a better path for these characters.
Kobayashi: For the main story, we managed to reach the intended conclusion based on The Tempest, with Suletta and Miorine’s endpoint and Prospera giving up revenge. I was prepared for mixed opinions since the ending isn’t clear-cut, with no definitive punishment for the wrongdoers. Another unresolved issue is the salvation of those burdened with hardships, and unwittingly, the sins of Prospera and the adults were passed on to Suletta, Miorine, and Shaddiq. It mirrors the real-world problem of younger generations bearing the burdens of their predecessors. Still, Suletta and the others will keep moving forward, but as an adult, I feel sorry that we couldn’t lay down a better path for these characters.
冇祝福了
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正路嘅
真
痴線架 周圍都冇哂BD 8
我後悔左之前冇訂
周圍都冇哂BD 8 我後悔左之前冇訂
身痕訂左米狸OP對立牌
會返貨 落訂先
呢d實有貨 唔洗驚
已訂 希望隻BD 8快d返貨
琴日晏晝喺日亞搞掂
狸米乃命定論
唔知發咗達未
聲優只是興趣
賭馬先係職業
賭馬先係職業